Elijah Jamal Balbed's Checkin' In Today

Elijah Jamal Balbed caught at an earlier performance at the Smithsonian's Kogod Courtyard

One of the Washington DC area's most accomplished young musicians is saxophonist Elijah Jamal Balbed. At jams, performances with other artists and his own engagements, he has displayed a robust style displaying a musical maturity way beyond his years. He issued recently his first recording as a leader Checking In where he is joined by some of the DC area's most accomplished musicians including pianists Harry Appelman and Allyn Johnson, trumpeters Alex Norris and Donvonte McCoy, bassists Eric Wheeler and Zach Brown, guitarist Samir Moulay, and drummers Carroll Vaughn Dashiell III. 

Included are seven studio recordings from two sessions and a live performance from the Strathmore with a band that included Norris and Dashiell. Musically this is some fine playing in the vein of some of the classic Blue Note and Prestige recordings of the seventies by Wayne Shorter (whose Infant Eyes is interpreted), Booker Ervin, Freddie Hubbard, Woody Shaw and similar artists. The disc opens with the leaders own Macrophobia, which displays a a full tone that goes beyond his influences. It is followed by a wonderful rendition of Freddie Hubbard's tribute to his contemporary Booker Little, Lament For Booker, which allows everyone to stretch out. Norris is terrific here as is Appelman, flautist Brent Birckhead, and Balbed. The title track is the last one featuring the group with Appelman and Norris and a is a brash, bouncy performance.

Imanust (Tsunami spelled backwards) reminds me of some of Woody Shaw's very sophisticated compositions with bassist Brown taking a brief solo before the leader takes the forefront with Kush Abadey propelling things along. Keep Me From Fear was inspired by a poem by Brendan Ogg, who died way too young. It is a lovely ballad with Balbed opening in a feathery manner with guitarist Moulay complementing the opening statement. Throughout, pianist Johnson plays superbly where comping behind Balbed and others or in one of his beautiful solos. McCoy's trumpet is another pleasure to be enjoyed here, especially on his solo during Brief Encounters, followed by an excellent rendition of Shorter's Infant Eyes. 

The live recording For Minors Only strongly closes out Checking In. Balbed has received much praise   from CapitalBop.com (which selected this as amongst the finest Washington DC new releases of 2012) and the Washington City Paper (Best New Saxophonist in 2010). This writer has been impressed every time I have had the pleasure of seeing Elijah Jamal Balbed perform. This music swings, the arrangements are first-rate, the ensemble playing is terrific, and the solos are consistently inventive resulting in this marvelous debut album. This was crowd-funded through Kickstarter and available through cdbaby.com and available as a download from itunes and other download sources as well as from cdbaby.

I write this and post this a few hours before Balbed leads a program devoted to one of his influences, Wayne Shorter, at the Kogod Courtyard at the Smithsonian's Museum of American Art. The program is a tribute to Wayne Shorter's 80th birthday year, and he will showcase Shorter's early works (prior to his tenure with Miles Davis). Balbed's group will include Alex Norris on trumpet, Samir Moulay on guitar, Harry Appelman on piano, Herman Burney on bass, and Billy Williams on drums. It is free and starts at 5:00PM and runs until 7:00PM. Food is available in the snack bar and there is a free drawing workshop  taking place at the same time where one can build a sketchbook from recycled materials. This workshop is in conjunction with the exhibition Abstract Drawings. Here is Elijah Jamal Balbed from a couple years ago performing one of songs Wayne Shorter wrote for Miles Davis.

I purchased Checking In. 

I cursorily proofed this but will do a more thorough proofing later.

Frankly Some Great Jazz

I just came across some video clips on youtube of a program from the 1960's called Frankly Jazz with some really terrific performances. How about Gerald Wilson's Big Band doing Miles Davis' Milestones.

Then there is Lou Rawls singing the blues.

And Paul Horn performing On Green Dolphin Street.

Enjoy.

Paul Motian's Monk In Motian

On Monk in Motian, the late drummer Paul Motian is heard leading a combo with guitarist Bill Frissell and saxophonist Joe Lovano with guest appearances by Dewey Redman and pianist Geri Allen. There is no bass on this, and with the exception of the tracks with Allen are piano-less as well. The CD was originally issued on the German JMT label in 1988 and reissued in 2002 on the Winter and Winter imprint, which I recently purchased from JazzLoft.com.

I really like the open feeling of the performance which the lack of piano contributes to as does Frissell’s really nice guitar. Frissell’s chords and riffs form the anchor of these performances which Motian and Lovano playing off of. There are a number of familiar Monk classics including Evidence, Bye-Ya, and Epistrophy. The ambience is somewhat similar to School Days, the wonderful Steve Lacy-Roswell Rudd group devoted to Monk’s music.

This is packed in a hardback styled cover. It is, as indicated above, not a new release which I purchased it from jazzloft.com.

Snooks Eaglin JazzFest 07 Day 2-289

JazzFest 07 Day 2-289, a photo by NoVARon on Flickr.

Today is the anniversary of the birth of the great Snooks Eaglin. I remember standing next to the poet, radio announcer and activist John Sinclair at what is now the Gentilly Stage and kidding John about Snooks, on a live recording that was on a wwoz CD, calling him out and saying I want to see you dance. Well at this performance the first thing Snooks says before he launches into his set is "Sinclair, you out there? I want to see you dance." Snooks was one of a kind.

My recommendation for a Snooks album is the Black Top release Out of Nowhere that was reissued by Shout Factory and which is available from amazon as a cd-r. You may be able to find vendors selling the original CD as used or a collectable. It is well worth trying to locate. I previously posted reviews of several of his albums including Snooks Live in Japan.

2013 Mid-Atlantic Jazz Festival Will Bring Its Strongest Line-up Yet To Rockville

The Mid-Atlantic Jazz Festival returns to Rockville, Maryland February 15 through the 18th. This year is the Festival’s 4th edition and takes place at the Hilton Executive Meeting Center in Rockville for a weekend of jazz music, workshops, interviews and a High School Band competition. The festival combines internationally renowned artists along with both established and up-and-coming acts from the Mid-Atlantic Region.

Paul Carr - Photo  Ron Weinstock

This year’s festival will have a special focus on the Hammond B-3 and feature performances by organists Pat Bianchi, Dr. Lonnie Smith and Joey DeFrancesco. In addition, there will be performances by pianists Orrin Evans, Helen Sung and Larry Willis; saxophonists Bobby Watson, Paul Carr, Sharel Cassity and Tim Warfield; vocalists Gregory Porter (singing the title track of his album Be Good in video above), Carmen Bradford and Stephanie Jordan; as well as the supergroup The Cookers. That only cracks the surface of the performers appearing.

Friday evening, February 15, the Festival’s Ronnie Wells Main Stage kicks off with pianist Orrin Evans and his trio with special guest, saxophonist Tim Warfield. Evans, a former finalist in the Thelonious Monk Competition, has become one of the most acclaimed young pianists, rooted in the tradition but also quite forward looking. Following Evans will be the Grammy nominated Gregory Porter accompanied by the Mid-Atlantic Jazz Orchestra under the direction of Paul Carr, which features some of Paul’s students from the Jazz Academy of Music and special guests from among the Mid-Atlantic’s finest musicians. Porter is among the most talked about new names in the jazz vocal circles and brings a warmth reminiscent of Marvin Gaye and Donny Hathaway to his soulful jazz styling. The main stage will close with saxophonist Paul Carr with B3, a group consisting of organist Pat Bianchi, guitarist Bobby Broom and drummer Bryon Landham. 

Carmen Bradford

On Saturday afternoon bass clarinetist Todd Marcus will lead his group which will have as special guest, clarinet master Don Byron. That will be followed by a vocal summit featuring Sharon Clark, Lynette Washington and former Count Basie singer Carmen Bradford, backed by the Chris Grasso Trio. Grasso is among the DC area’s most in demand accompanist for singers. Saturday afternoon concludes with the Akiko Tsuruga Quartet, featuring the Japanese born organist who is a mainstay on the NYC scene.

Saturday Night’s performances on the Main Stage opens with the Larry Willis Quintet that includes trombonist Steve Davis, saxophonist Joe Ford, bassist Steve Novosel and Billy Williams on drums. This is quite an impressive grouping including former McCoy Tyner saxophonist Ford and Rashaan Roland Kirk bassist Novosel in addition to the leader. It will be followed by another supergroup, Women In Jazz, which includes vocalist Sharon Clark, saxophonist Sharel Cassity, pianist Helen Sung, bassist Amy Shook and drummer Allison Miller. The Main Stage closes that night with the legendary Dr. Lonnie Smith on the Hammond B-3.

Sunday’s Main Stage opens in the afternoon with saxophonist Bruce Williams leading a group with Pat Bianchi on organ. Williams, a Washington DC native, is a member of Ben Riley’s Thelonious Monk Legacy Septet as well as being the newest and youngest member of the World Saxophone Quartet in addition to leading several ensembles on his own. San Francisco area saxophonist William O’Neill will lead a group that also features vocalist Kenny Washington, and the afternoon closes with the Jazz super-group, The Cookers. The Cookers comprise of true jazz legends including pianist George Cables; tenor saxophonist Billy Harper; drummer Billy Hart; bassist Cecil McBee; trumpeter and flugelhorn player Eddie Henderson; flautist and alto saxophonist Craig Handy; and trumpeter David Weiss. 

Stephanie Jordan
Photo © Ron Weinstock

The final night on the main stage opens with saxophonist Bobby Watson. New Orleans vocalist Stephanie Jordan will be singing a Tribute to Lena Horne, but hopefully she will also sing her wonderful rendition of Shirley Horn’s Here’s To Life. The Ronnie Wells Main Stage closes with the multiple poll-winning organist Joey DeFrancesco for more hot Hammond B-3 grooves. The Festival’s Main Stage Line-Up is arguably the strongest yet, and a musical feast for those who want to hear real, straight-ahead jazz.

In addition to the main stage line-up, the Festival hosts a High School Jazz Band competition and performances by a number of up and coming performers in MAJF Club room. Friday night saxophonist Elijah Jamal Balbed performs. He has just released his first album, “Checking In,” which is certainly going to gather much attention for his robust playing and his thoughtful, impassioned solos. Also in the Club that night is vocalist Chad Carter. Saturday in the club will be saxophonist Marshall Keys, vocalist Janine Gilbert-Carter and saxophonist Bruce Swain. On Sunday Janine Gilbert Carter will be doing a gospel brunch show in the Hotel Atrium along with performances in the MAJF Club by Darius Scott, Ivy Ambush and Cloudburst.

For the first time, the Festival will have a Juke Joint with blues performances over the weekend from David Cole, Clarence ‘The Bluesman’ Turner and Linwood Taylor. There will be workshops by some of the performers and interviews with Gregory Porter, Dr. Lonnie Smith, The Cookers and Joey DeFrancesco. Each night will conclude with Wes Biles leading a midnight jam. 

It is a music packed weekend with much more details on the performers as well as the schedule, ticket information, accommodations info and more at www.midatlanticjazzfestival.org. Hope to see many of you there.

2013-0112 Hayes Greenfield at Smalls-1120394

2013-0112 Hayes Greenfield at Smalls-1120394, a photo by NoVARon on Flickr.

Part of my short weekend in New York City, my wife and I went to Smalls, a jazz club in Greenwich Village that I have watched performances of at the club's website. Performing that night was The Hayes Greenfield - Roger Rosenberg group with Greenfield on alto sax, Rosenberg on baritone and soprano sax, Dean Johnson on bass and Scott Naumann on drums.

This was some nice music in an Ornette infleucned vein including a couple of nice renditions of Monk compositions, "Well You Need It" and "Monk's Mood" (on which the bassist Johnson was featured) and an Ornette tribute number in which Naumann was quite lively.

There was wonderful soloing and group interplay. It was a nice cap of three days in the Big Apple.

Catherine Russell at 2013 NYC Winter Jazz Festival

2013-0111 NYC Winter JazzFest-1000080, a photo by NoVARon on Flickr.

Catherine Russell was one of the many performers at the Ninth WinterJazz Festival in New York City. Held over two nights at six venues a wide range of performers could be seen and heard at the various crowded venues. I was fortunate to have gotten at La Poisson Rouge early and caught sets by Amina Figuera and Catherine Russell.

Russell, daughter of Luis Russell and Carline Ray, is one of the finest interpreters of blues and pop songs form the thirties through the sixties with a marvelous band. She is a singer not simply a shouter, and her set included songs associated with Ella Fitzgerald (when she was a teenager with Chick Webb), Esther Phillips, Dinah Washington, ivy Anderson (with Due Ellington) and Wyonnie Harris. Her taste in her repertoire is matched by her performances.

Here's another shot of Catherine Russell from her set.

2013-0110 Donald Harrison et al at Blue Note-6958-Edit

2013-0110 Donald Harrison et al at Blue Note-6958-Edit, a photo by NoVARon on Flickr.

Ron Carter, Donald Harrison and Billy Cobham performing at the Blue Note in New York City. I was next to the stage, about 5 feet from Ron Carter and able to get some images abiding with the club's no flash policy. Real nice show that started with a nice rendition of Miles Davis' "So What' followed by Carter's "Cut & Paste." A nice rendition of "I Can't Get Started" was followed by Carter doing a solo on "You Are My Sunshine," and they closed with a lively rendition of the classic Sonny Rollins calypso, "St. Thomas."

2013-0110 Donald Harrison et al at Blue Note-6974

2013-0110 Donald Harrison et al at Blue Note-6974, a photo by NoVARon on Flickr.

In New York for a brief vacation, I happened to see a wonderful set by saxophonist Donald Harrison with Billy Cobham on drums and the legendary Ron Carter on bass. This is the trio that recorded the High Note CD "This Is Jazz" (and they performed several songs on the CD) and I was sitting at the foot of the stage, FIVE feet from Ron Carter.

Lets Give An Amen To Johnny Jones

The late Johnny Jones was a strong guitarist that was a mainstay of the Nashville Rhythm and Blues scene from the sixties on. The following review was part of a composite review of releases on the German Blue Label/SPV that appeared in the April 2007 Jazz and Blues Report (Issue 292) and I have made minor stylistic changes. I received my review copy from the publication.

Johnny Jones was a central part of the Nashville R&B scene for the past half century. Originally from the Memphis, he became part of Ted Jarrett’s traveling revue and eventually settled in Nashville where he was studio guitarist for many of Jarrett’s productions and also part of the studio band for The !!!!Beat TV show and led his band The King Casuals with bassist Billy Cox (Jimi Hendrix would Jones in this band, and Jones would give Hendrix some pointers). 

Jones' career was revived with the help of Fred James and was highly acclaimed overseas with albums on Black Magic and Northern Blues before the live recording, Can I Get An Amen, from Bern, Switzerland. Its a terrific performance with Jones straight forward vocals and guitar playing which suggests to these ears the late Son Seals. Albert King is an obvious influence with the fine opening, funky interpretation of Don’t Throw Your Love on Me So Strong, followed by William Bell’s Chip Off the Old Block. 

The title track opens with some down-in-the alley guitar before he launches into an intense vocal. Herb Stuffing is a funky instrumental with plenty of searing guitar and commentary from Jones. His friend Charles Walker joins on a fervent take on Don Covay’s Ain’t Nothin’ a Young Girl Can Do.This is a fine set of contemporary urban blues, sung with heart and played with plenty of fire which is easy to recommend

Here is a video of Johnny Jones from a few years ago shortly before he passed away.

2012-1024 Capital Blues Night at The Hamilton Live-241971

2012-1024 Capital Blues Night at The Hamilton Live-241971, a photo by NoVARon on Flickr.

Today I retire as an attorney who practiced primarily in the area of the Exempt Organizations Tax Law with the Office of Chief Counsel of the Internal Revenue Service. As offices of all kinds do when someone retires after a long period of time, a party was held to honor me. I had asked that in lieu of personal gifts to me, contributions be made to the Music Maker Relief Foundation and I was pleased that a nice donation in my honor was made to MMF (and check out their website at www.musicmaker.org.

This picture was from the most recent performance that MMF presented in Washington DC, which was one of the better live performances I had an opportunity to attend in 2012 and featured in this picture is guitarist Cool John Ferguson and vocalist Captain Luke.

A Couple of Blue Notes

Carla Marciano

I believe it was a link to a free download on allaboutjazz.com that turned me on the Carla Marciano, an Italian saxophonist from Salerno, Italy. Listening to the download immediately led me to download on itunes (and its available elsewhere) her new recording Stream of Consciousness (AlfaMusic). She elads a quartet of her on saxophone; Alessandro La Corte on piano; Aldo Vigorito on bass and Gaetano Fasono on drums. I ahve seen her referred to as John Coltrane's daughter and listening to this recording it is immediately evident from the opening God Rest Ye Merry Gentleman, which certain will evoke Coltrane's rendering of Greensleeves, to the title three-part suite where she and her combo will make some wonder if this is a previously unissued Coltrane recording. What's interesting is that the suite is akin to some of Trane's freer recordings. Anyway this lady has certainly left a strong impression on me and this is well worth checking out.

Here website biography is at http://www.carlamarciano.it/bio.asp

Miles Davis - The Complete Illustrated History

Miles Davis - The Complete Illustrated History, published by Voyageur Press of Minneapolis, Minnesota is a marvelous graphic overview of one of the most important, influential and original artists of the Twentieth Century. This coffee-table sized volume provides an overview of Miles Davis’ life accompanied not simply by wondrous and classic photography, but also short essays by his musical colleagues, jazz critics and  historians and cultural historians. The who package is quite well done and the various comments from those of his contemporaries like Sonny Rollins, Herbie Hancock, Lenny White, Ron Carter and Clark Terry and such noted jazz writers as Francis Davis, Ashley Kahn and Robin D.G. Kelley, certainly help flesh out a bit of his personality as well as his musical history. This is the second such book on Miles (We Like Miles came out two years ago to accompany a Miles Museum exhibit in Paris and Montreal) and is certainly a must for those who don’t have the prior volume, but also stands on its own for those (like myself) who have the earlier book. 

If you go to Barnes & Noble’s website or to amazon, you can get the flavor of this volume from the preview that is available. 

I purchased both of these items.

Notable Jazz and Blues of 2012 - Part 2

This is the second blog recapping some of the finer jazz and blues releases that came out recently. Today I focus on recordings I reviewed in the second half of 2012.

New Jazz Recordings

Our Thing (Motéma Music) is the first time studio collaboration between Israeli-born guitarist/composer Roni Ben-Hur and Panamanian-born bassist/composer Santi Debraino. The musical delights of this trio is captured in a beautifully engineered recording which is also one of the better jazz guitar recordings this listener has heard recently.

Cassandra Wilson's, Another Country (eOne Music), is a collaboration with the Italian guitarist and producer, Fabrizio Sotti. From the opening moments of Red Guitar, to the closingOlumutoro, Wilson's sultry and intimate vocals benefits from the backing.

Brazilian born drummer Duduka Da Fonseca bridged the world of samba and jazz on Samba Jazz - Jazz Samba (Anzic Records). With a band of well-regarded players (and bandleaders): Anat Cohen - clarinet and tenor saxophone; Helio Alves - piano; Guilherme Monteiro - guitar; and Leonardo Cioglia on bass, he produced an appealing album with strong ensemble playing on a varied set of compositions. 

Ernest Dawkins Afro-Straight (Delmark) is a terrific recording of straight-ahead jazz from an ensemble led by Dawkins, who is most associated with free jazz, as they tackle tunes from Coltrane, Shorter, Gillespie as well as an original blues from the leader. This is an excellent recording that easily refutes the stereotype that free jazz players can’t play straight-ahead.

Cornetist Josh Berman & His Gang, There Now (Delmark) is an imaginative free-bop release that includes very original interpretations of songs associated with the Chicago Jazz of the thirties. I found it a most imaginative and fascinating recording, full of surprises and passion.

Five members of Brooklyn Jazz Underground, a cooperative association of jazz artists from Brooklyn, NY, collaborated on a new recording A Portrait of Brooklyn on the association’s sister company, Brooklyn Jazz Underground Records. It is an excellent collection of first-rate original compositions and terrific playing.

New Blues Recordings

Vicksburg Blues (Red House Records) is the first collaboration between pianist and clarinetist Butch Thompson and singer-guitarist Pat Donohue and mostly explores classic blues in the vein of Leroy Carr, Tampa Red and Big Bill. "This is simply the finest album of blues piano and guitar duets in a number of years and certainly one of the finest new blues albums I have heard in 2012."

Johnnie Bassett had a new release on Sly Dog Records, I Can Make That Happen. This was another well produced and enjoyable recording. He died not long after this was released but was still making it happen with his soulful and sophisticated blues.

There are several songs on Linsey Alexander's Delmark debut Been There Done Thatthat if were recorded thirty years ago would be viewed as blues classics. This was one of the finer blues albums I heard in 2012. 

Michael Burks, Show of Strength (Alligator). What turned out to be a posthumous release was a stunning display of his fiery fretwork and soulful singing performing some fine material. 

Omar and the Howlers, Too Much Is Not Enough (Big Guitar). There is the second album of JimmY Reed's music Omar Dykes has put together and this includes the alte harmonica master Gary Primich about others. These are wonderfully paced performances and many ‘blues players’ would do well to see how one can take familiar material and make it sound fresh and vital

The Lioness of the Blues, Sista Monica, most recent recording on her Mo Muscle Records label is Living In The Danger Zone. A singer that combines the power of an Etta James with the nuanced delivery of Ruth brown, Sista Monica has produced another strong release.

Willie Buck with The Rockin’ Johnny Band had a new album on Delmark, Cell Phone Man. Evoking Muddy Waters, His vocals exhibit some of the same expressive qualities and with the strong backing here (which at times suggests some of the outstanding Delmark albums of the late sixties and seventies) Buck produced an outstanding recording of real-deal Chicago blues.

Fourteen Stories is the self-released recording by the Red Lotus Revue, a band rooted in fifties’ Chicago blues. They produced a strong collection of Chicago styled blues.

Vintage Jazz and Blues Recordings

Magic Sam, Live 1969 - Raw Blues (Rock Beat label). Exceptional previously unissued club recordings by legendary Magic Sam backed by Bruce Barlow (later with Commander Cody and the Lost Planet Airmen) on bass and Sam Lay on drums. Soul may not be quite hi-fi, but the performances are searing.

Don Sebesky’s Giant Box was part of the CTI Masterworks reissues of classic CTI albums marking the label’s 40th Anniversary. The performances onGiant Box display how his ambitious synthesis of classical, jazz and popular music was realized. His orchestrations frame the featured players here and enhance the solos that exhibit the skill and imagination of some of the greatest jazz musicians of four decades ago.

Celebrating a half century of the Preservation Hall Jazz Band is a new box set on Columbia/Legacy, The 50th Anniversary Collection. It spans there recordings and includes some previously unreleased material. This is a joy and soulfulness of all of the performances here on this celebration of 50 years of what is truly a cornerstone of American culture, not simply music.

Labor Records issued a new Louisiana Red CD, When My Mama Was Living, bringing together 16 tracks comprised of one track on CD for first time and the rest previously unissued selections or unissued alternate takes. This new release of unissued songs and alternate takes is welcome as. Louisiana Red was in quite fine form during this period.

Grant Green, The Holy Barbarian/ St. Louis 1959 (Uptown Records). This is first release of live recording of nearly 70 minutes of what was a strong performance of blues and hard-bop organ jazz in St. Louis at a short-lived pioneering venue.  Beautifully packaged this is as exciting release as Resonance Records recent Wes Montgomery CD.

Louis Armstrong & the Allstars, Satchmo at Symphony Hall - 65th Anniversary: The Complete Recordings (Hip-O-Select). A double CD reissue that includes previously unissued music that is one of the classic traditional jazz recordings and one of the most legendary performances of Armstrong’s career which thankfully is finally available in a complete issue.

Notable recordings of 2012 - Part 1

The first of several days recapping some of the finer jazz and blues releases that came out recently. Today I focus on recordings I reviewed in the first half of 2012.

New Jazz Recordings

Bass clarinet specialist Jacob Stein had a marvelous Delmark release, The Story This Time. "Stein has put together a fine band for the musical explorations heard on this very absorbing recording." 

Catherine Russell had another album of musical treats with her latest album, Strictly Romancin’ (World Village). It is the vein of her well received Sentimental Streak and Inside This Heart Of Mine, with a similar program of mostly long forgotten blues, ballads, love songs and swing from the twenties to today.

The Planet D Nonet, a group of musicians from the Motor City who perform a range of music issued a terrific double CD, We Travel The Spaceways: The Music Of Sun Ra (East Lawn Records).

The Rick Germanson Quartet had one of several excellent Live at Smalls recordings on the clubs Smalls Live label. Pianist Germanson was joined that night by the trumpet of Dr. Eddie Henderson, the bass of Paul Gill and the drums of Lewis Nash for some sterling hard bop. 

Saxophonist Paul Carr, who produces the annual Mid-Atlantic Jazz Festival in Maryland each February, had a terrific recording, Standard Definition (PCJ Music), on which he was joined by  Terell Stafford (trumpet), Joey Calderazzo (piano), Mike Bowie (bass) and Lewis Nash (drums). It was selected by Capital Bop as among the best 2012 jazz recordings by DC area artists.

Saxophonist and composer Dan Blake has a new release on BJU (Brooklyn Jazz Underground) Records, The Aquarian Suite, where he leads a piano-less quartet with Jason Palmer on trumpet, Jorge Roeder on bass and Richie Barshay on drums. "The mix of Blake’s stimulating writing with the high level of the performances, both in terms of the intelligent and spirited solos, and high level of the ensemble playing result in this excellent release."

Evan Christopher had a new release in his Clarinet’s Road series, In Sidney’s Footsteps(STR Digital Records). As indicated by the title, the music of Sidney Bechet is inspiration for the music here, although not all the performances are of songs recorded by Bechet. "There is a presence to his clarinet and the performances on this wonderfully recorded album that continues to delight after repeated listening. In Sidney’s Footsteps may be Evan Christopher’s most exceptional recording yet. Given the high level of his prior albums, that is saying something."

Harmonica wizard Gregoire Maret had an eponymously titled debut recording for Entertainment One. Maret’s playing is delightful and captivating. This is music that should have a wide appeal given the wonderful playing as well as the lyricism evident throughout this. Wonderfully recorded, Grégoire Maret’s self-titled debut should bring him well-deserved recognition.

Another release by the SmallsLive label in its Live at Smalls series of recordings was by the trio of tenor saxophonist Ralph Lalama, Bopjuice. This excellent location recording evoked the classic Sonny Rollins Live at the Village Vanguard.

New Blues

About Heritage Blues Orchestra, And Still I Rise (Raisin’ Music) I wrote "The foundation of the Heritage Blues Orchestra are the voices of Junior Mack, Bill Sims, Jr., and Chaney Sims who bring such a range of moods and emotions in the marvelous vocals here. This trio could do a recording without instrumental accompaniment and be as compelling as they are here. And I Shall Rise is an compelling, contemporary exploration of African-American musical roots.

Mark Hummel’s Blues and Lonesome: Tribute to Little Walter (Rockinitus Records) is an excellent compilation from recordings he has made over the years in homage to Little Walter.

Michael Roach and I had an association with the DC Blues Society two decades ago, and I had been following his maturation as a performer over the years after he left his native Washington and moved to England. He has also become important as a blues educator and historian. Innocent Child is his most recording on his Stella Records label. The varied repertoire here is matched by Michael’s natural, heartfelt vocals and adroit and thoughtful guitar. The result is the marvelous music on Innocent Child. 

Fifty years after Big Bill Broonzy’s passing, Billy Boy Arnold recorded a tribute album, Sings Big Bill Broonzy on Electro-Fi.  "This recording was heralded in Bob Riesman’s Broonzy biography, and its release has met the expectations for it. Today, one might find it hard to appreciate how significant Big Bill was in the history of the blues. Along with Riesman’s book, this tribute recording addresses that in a fine and spirited manner."

Guy Davis issued a memorialization of his one-man show, The Adventures of Fishy Waters: In Bed With the Blues, on his Smokeydoke Records with assistance from Bob Porter which enables those who haven’t had the pleasure of seeing Davis perform this show to enjoy it. The music and stories are about 91 minutes and therefore spread over two CDs.

Quintus McCormick, Delmark release Still Called The Blues. Delmark's Steve Wagner recalled his reaction when he first heard Quintus McCormick when recording his 1st Delmark album, Hey Jodie. “Wow this cat could be the next Johnnie Taylor!” I might suggest a bit of Tyrone Davis and Artie ‘Blues Boy’ White as well after hearing McCormick’s new Delmark release Still Called The Blues. This will appeal to a very wide grouping of blues lovers and is proof that Quintus McCormick is among today’s finest blues and soul performers.

Nathan James had an excellent Delta Groove CD, What You Make Of It, with his touring band, The Rhythm Scratchers. " I was not familiar with Nathan James’ music prior toWhat You Make Of It, but I was impressed to already acquire one of his prior recordings. There is some seriously good, original blues by Nathan James and The Rhythm Scratchers here."

Reissues or Newly issued Vintage Jazz and Blues Recordings

Dr. Robert E. Sunnenblick produced for his Uptown label a Dexter Gordon live album, Night Ballads Montreal 1977. Gordon was with his band of Eddie Gladden on drums, Rufus Reid on bass and George Cables on piano. This CD has over 70 minutes of ballads which might  be a bit much for some in one sitting. Still the terrific music makes this a highly recommended addition to the body of Long Tall Dexter's recordings. 

Reissue Universal released on its Hip-O-Select label, the four-CD Heart & Soul: A Retrospective, that in its four CDs surveys Etta James recordings from her debut as The Wallflower doingRoll With Me Henry, for Modern Records to the previously unissued 2007 recording of Rodney Crowell’s Ashes By Now. This was issued prior to her passing.

Tom Hoskins recorded and interviewed Hurt at the time of his location of Mississippi John Hurt on March 3, 1963. These recordings, the first since Hurt recorded in the 1920s, were issued on a fascinating new release on Spring Fed Records, Discovery: The Rebirth of Mississippi John Hurt. Wonderfully remastered, the CD has 19 tracks including a previously unissued and lengthy interview where Hurt and his wife talks about his early life and recordings, and life after those recordings.

Barbecue Any Old Time: Blues From The Pit 1927-1942 (Old Hat Records) is a relatively recent compilation of vintage jazz and blues recordings that celebrate barbecue, the distinctly southern American form of cuisine, usually slow--cooked over a pit. "This mix of lively downhome blues and rollicking early jazz and vocal harmony recordings is a definite musical feast well digesting like the delicious culinary tradition the songs salute. WIth the excellent annotation and engineering of the source material, this is an excellent collection."

Ruf Records issued a double CD set by Omar and the Howlers, Essential Collection. This is a career and label spanning compilation that covers the two or so decades of the recording career of Omar Dykes. I noted that nothing on this was less than first-rate.

Among the better reissues celebrating 40 years of CTI was the CTI Masterworks release of Stanley Turrentine’s Don’t Mess With Mister T. The addition of bonus tracks make this even stronger a reissue than a simple reissue of the original album would have been.

An excellent compilation of modern West Coast Uptown Blues is the English Ace collection of Al King and Arthur K Adams, Together: The Complete Kent and Modern Recordings. I wrote that this "is an important reissue of two powerful, if neglected blues artists (although thankfully Adams is still with us and continuing to make strong, original music)."

It is odd to hear Herman ‘Little Junior’ Parker referred to as a fairly obscure figure in the history of African-American music as Dave Penny does in the liner notes of the excellent two-disc, Fantastic Voyage public-domain reissue, Ride With Me, Baby: The Singles 1952-1961.  This is a very welcome, overdue, and highly recommended, reissue of Parker’s singles from the first decade of his recording career. 

Earl Thomas at 2012 PA Blues Fest

2012-0729 PA Blues Fest Sunday-7290043, a photo by NoVARon on Flickr.

I probably saw less blues and R&B this past year than in prior years. One of the top blues act I had the pleasure of seeing was San Francisco based earl Thomas who brought a raspy, deep soul, church-rooted vocal attack backed by a crack rocking blues band to the Pennsylvania Blues Festival in July. Not only did his vocals hit you in your gut, but his old school showmanship was quite compelling as well. Here was some terrific music with both substance and form.  Here is another image from that great show.

20121220 Brad LInde Ensemble and Brass at Kogod Courtyard-1030372

20121220 Brad LInde Ensemble and Brass at Kogod Courtyard-1030372, a photo by NoVARon on Flickr.

This was an evening of classic Christmas Music as if it was performed by a slightly more radical version of The Birth of the Cool Orchestra. Brad Linde with Sarah Hughes put together a terrific ensemble, his quartet augmented by four brass. It was the monthly Take 5 concert at the Kogod Courtyard at the Smithsonian's Museum of American Art.

Mavis Staples Urges Us To Have A Little Faith

One of the highlights from this summer’s Pocono Blues Festival (2004) was the performance by Mavis Staples. Her set included some classics associated with the Staple Singers and what was then a preview of the recently issued Alligator disc, Have a Little Faith. This new album will be welcome for Ms. Staples’ many fans and gain her new fans. 

While the material is religious in nature, the basic messages of songs such as the title track, God Is Not Sleeping, In Times Like These and Step Into the Light can move persons of all faiths. The mood of many songs is mostly reassurance in these very troubling times we live in. There are some nods to the unsettled times on There’s a Devil on the Loose, while a couple of songs, Ain’t No Better Than You and At the End of the Day, promote the idea that whatever our state in life, we are all basically the same. As she sings on the latter number that whether one is a Wall Street broker or a fruit cart vendor, “At the end of the day, we’re all the same.” 

Mavis Staples at 2010 Pocono Blues Festival
Photo © Ron Weinstock

She recalls her late father on Pops Recipe, singing about he taught how to sing and how to live and gave his family all his love and everything he had to give. A Dying Man’s Plea is a moving rendition of See That My Grave is Kept Clean, with additional lyrics that Pops Staples had added with nice dobro and fiddle from John Rice. The album concludes with a new rendition of Will the Circle Be Unbroken, which was the first song the Staples learned to sing as a family and was a hit for them on Vee-Jay. 

Produced with Jim Tullio who adds percussion, bass and guitar on various tracks, Mavis Staples sings brilliantly with so much passion. The musicians in the studio provide a most sympathetic backing, with a bluesy-soul feel on most of the songs. This writer may be a religious skeptic but these performances move me. This is clearly among the best recordings (blues or otherwise) of this year. 

This review appeared in the October 2004 DC Blues Calendar and the November-December 2004 Jazz & Blues Report (Issue 271). I received a review copy from Alligator.  Here is her with her dad Pops Stales and her sisters, The Staples Singers doing one of their classics.