Whitney Shay A Woman Rules The World

Whitney Shay
A Woman Rules The World
Little Village Foundation

There is something about a recording that makes one take notice, especially when it is by an artist that one was previously unaware of. San Diego vocalist Whitney Shay made that impression when I first started listening to her assertive "Ain't No Weak Woman," that opens up this new release of modern urban blues and classically oriented soul. Supporting her expressive singing is the excellent support that producer and guitarist Christoffer 'Kid' Andersen has provided. On this she is supported by a studio band that includes Jim Pugh on keyboards, Kedar Roy on bass, Alex Pettersen on drums and 'Sax" Gordon Beadle on saxophones with Igor Prado and Aki Kumar among those guesting on selected tracks.

"Ain't No Weak Woman" is one of four songs Shay co-wrote with Adam Eros, and she vigorously delivers her lyric that having a weak moment does not make her a weak woman. It is a moving vocal set against a driving groove with a superb Sax Beadle tenor sax solo. More raspy sax opens a lesser known Dinah Washington number "Blues Down Home." The terrific horn arrangement and her superb vocal suggests she could handle a straight jazz recording as well as she handles the blues and soul here. This track also has Jim Pugh's greasy organ accompaniment, a nice harp break from Aki Kumar and booting sax that evokes Eddie Chamblee and the like. After a hint of New Orleans on another original, "Don't You Fool Me No More," Igor Prado adds his slashing guitar and a  vocal on another original, the funky "Love's Creeping Up On You."

The title track was Denise LaSalle's answer to James Brown's "It's a Man's World." Sdt against the firm accompaniment, moaning and shouting, she delivers another knockout vocal. Andersen's sitar helps open her fervent blues shouting on a reworking of Little Richard's "Freedom Blues," followed by a strong deep soul interpretation of Candi Staton's "Get It When I Want It," with Sax Beadle's baritone sax a significant part of the backing. Among the other selections is the low-key original lament, "Empty Hand," where her phrasing and vocal dynamics stands out.

Another driving Little Richard number "Get Down With It," closes this recording. The terrific studio band and Andersen's production along with Shay's powerful, nuanced singing result in a superb recording.

I received my review copy from a publicist. I have made some stylistic edits to the review that originally appeared in the July-August Jazz & Blues Report (Issue 379). Here is a video of Whitney Shay performing.

Hendrik Meurkens - Bill Cunliffe Cabin in the Sky

Hendrik Meurkens - Bill Cunliffe
Cabin in the Sky
Height Advantage

A new album of duets between the harmonica wizard Meurkens and pianist Cunliffe mixes some originals with some Broadway and pop standards that will delight listeners. The elegance of Cunliffe's piano and  Meurkens harmonica mastery is evident with the opening title track  Meurkens certainly displays the skills that have some to label him as the successor to Toots Thielemans, while Cuniliffe's accompaniment and solo dances in its own way as well. Cunliffe provided a string arrangement for the wistful original from Meurkens, "Afternoon," followed by the duo's lovely rendition of Wayne Shorter's "Miyako," and a lively rendition of Joe Zawinul's "Young and Fine."

Cunliffe's "You Don't Know," is a lightly swinging blues-inflected number, while "Invitation" is warmly interpreted. The Cunliffe/McConnell number, "Time to Say Goodbye," has a reflective quality. There is surprise to be heardin a performance of "Ode to Billie Joe," as Meurkens harmonica sings the Bobby Gentry lyrics.  Cuniliffe's piano provides some bounce to "Speak Low." An imaginative take of Jobim's "Wave," has references to "Smoke on the Water" in the closing performance of a recording by two kindred souls, full of marvelous playing that displays their virtuosity, imagination, and wit.

I received my review copy from a publicist. I have made some stylistic edits and corrections to the review that originally appeared in the July-August Jazz & Blues Report (Issue 379). Here is a promotional video for the recording.

Judith Lorick The Second Time Around

Judith Lorick
The Second Time Around
JLJ International

Besides being the title of one the standards, the title of this album (Lorick's second) also refers to her own story of a love lost in youth which gets rekindled 44 years later. She is joined on her exploration of love lost and found by pianist Eric Reed, who collaborated with her on her prior recording, Kiyoshi Kitigawa on bass, McClenty Hunter on drums, Jeremy Pelt on trumpet and Chris Lewis on tenor saxophone.

The cd package contains her reflections on the meaning of each song. For example, on the opening "Why Did I Choose You," she writes "We meet in 1967 and I see the heart you hide so well. For Tadd Dameron's classic "If You Could See Me Now," she notes "1970, You leave me, and I'm heartbroken." She states about the title track, "Lovelier, twice as wonderful, this miracle we found."

Her notes may relate to the selection of material, but what stands out it is her performance of these songs. This is an album of mostly ballads. Despite the predominance of languid tempos, the combination of Ms. Lorick's vocals, Eric Reed's arrangements, and the instrumental accompaniment leads to a marvelous recording. One is struck by the warmth and emotion that Ms. Lorick expresses throughout. she sings softly with clear enunciation, her vocal dynamics and phrasing that brings out the meaning of these songs, whether she expresses a longing for a love that seems to have been lost as in the Dameron classic (bassist Kitigawa stands out in his solo here as Hunter deftly plays with brushes), or celebrates in a restrained manner finding her lost love on the title track (accompanied solely by Reed's sophisticated backing). Reed's accompaniment on "He Needs Me," also gracefully supports the expression of longing in her vocal.

The support Kitigawa and Hunter provide adds to the appeal of these performances as do the solo contributions of Pelt (the soft, expressive playing on "Why Did I Choose You" or his bright middle register playing on "Wild Is the Wind") and Lewis (who provides a lovely tenor sax break on "Lucky to Be Me"), both enhancing the sophisticated elegance of the performances on this superlative, moving recording.

I received my review copy from a publicist.

New England Jazz Ensemble Peter and the Wolf

New England Jazz Ensemble
Peter and the Wolf
Self-Released

The New England Jazz Ensemble was created in 1991 as a weekly rehearsal band and a forum for new compositions. It was founded by trumpeter Mike Jones; Walt Gwardyak, pianist and composer/arranger, has been the music director from the beginning. Compositions by Gwardyak, John Mastroianni, Jeff Holmes, JP Merz, and others form the band's book. The 16-piece big band has a loyal following and sells its music through on-line CD sales and downloads far and wide. A not-for-profit organization the NEJE commissions new work, does extensive concertizing and collaborates with music educators in public schools and universities to perpetuate the jazz art form.

What the Ensemble does here is a jazz take on Sergei Prokofiev's “Peter and the Wolf.” The New England Jazz Ensemble use Prokofiev's music to introduce folks to contemporary jazz, just like the original narrative and musical adaptation of the animal sounds served to interest young audiences in the classical music of the day. Jazz vocalist Giacomo Gates provided a fresh take of the libretto with his narration as the ensemble negotiates Walt Gwardyak's arrangement. The arrangement  brings together a mix of a variety of jazz styles with specific instruments representing specific animals or the whole ensemble as Peter. It is a captivating performance that is a marvelously played gumbo of blues, salsa, cool jazz, bebop, big band jazz and more.

Jeff Holmes contributed the lively "Serge's Birds," based on several of Prokofiev's melodic lines which Holmes reset and arranged, as well as contributed the bright piccolo trumpet solo. John Mastroianni is featured on flute here. John Mastroianni also adapted and reset Prokofiev's melodic lines for "Power Serge," with its big band grooves. It features his alto sax solo along with Mike Leventhal's burly tenor sax solo. Mastroianni also contributed the lovely "Waltzin' With Wolves" (with trombonists Tim Atherton and Peter McEachern among those featured) while Holmes' original "Wolves" struts a bit as he growls on his trumpet on a performance that also includes an accordion solo from Gwardyak. Lisa LaDone impresses on baritone as part of the backing here.

Overall the music here isn't simply captivating, as there is much musical substance as well.

I received as a download from a publicist. This review appeared originally in the July-August 2018 Jazz & Blues Report (Issue 379), although I made minor stylistic edits to that review. Here is a preview video of this recording.

 

Big Harp George Uptown Cool

Big Harp George
Uptown Cool
Blues Mountain Records

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

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

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

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

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

Leroy Carr's In The Evening

Leroy Carr's legacy is perhaps not as appreciated today as it once was. A major recording star, his duets with guitarist Scrapper Blackwell, are classic blues recordings. Furthermore, he contributed countless classic blues songs that have become standards. Today we have an "In the Evening" playlist kicking off with his original recording.

While Ray Charles has also recorded this, let us not forget Charles Brown, who was an early influence on Brother Ray.

Big Bill Broonzy did this as hear here.

Robert Lockwood had a fondness for Leroy Carr as did most folks of his generation. Here he is playing his 12 string guitar and singing this classic.

Big Joe Turner did a nice rendition of this.

Here is Jimmy Witherspoon with a band that included Jay McShann on piano and was led by former Basie-ite, Budddy Tate.

Here is Ella Fitzgerald singing it for Decca Records,

Here is a Count Basie trio recording of this classic.

Here is Big Joe Williams and his 9-string guitar.

And here is the shouter Joe Williams at Newport in 1963 with a band including Howard McGhee and Clark Terry.

Here is Ernestine Anderson with Milt Jackson and others.

Then there is Gary Clark Jr. at the White House doing it.

Then there is Yusef Lateef's recording on the oboe.

I could include many more renditions, but here is a ringer to close this post with.  I wonder if the Carr estate gets royalties for Robert Johnson's recording, Love in Vain, that uses Carr's music.

Artur Menezes Keep Pushing

Artur Menezes
Keep Pushing
Self-Produced

Menezes is a mainstay of the blues scene in his native Brazil who is based in Los Angeles. He was third place finisher in the band category at the 2018 International Blues Challenge where he winner of the Gibson/Albert King Award for Best Guitarist. This is his fourth album with a band that includes Carey Frank on keyboards, Daniel Aged on bass, Gary Novak on drums, Jamelle Adessa on brass and Dan Boisey on saxophones with producer Josh Smith adding rhythm guitar to several selections.

This is a strongly performed set of originals, mostly in a modern urban blues vein such as the opening "Now's the Time," although several tracks are in a rock vein including the driving "Keep On Pushing," where he plays some shattering guitar and "Come With Me," with perhaps too heavily distorted guitar. Much better is a nice slow "Any Day, Anytime," a tune that evokes classic Stax blues from Johnnie Taylor and Little Milton. His singing is outstanding without any hint of an accent and his guitar here is superb with its lean, clean tone. It iss followed by a sharp Albert Collins styled blues, "Should Have Never Left," with guitar that evokes the late legend.

"Love'n'Roll" is a rollicking jump blues styled with his jazzy single note playing evoking the likes of Johnny Rogers on some classic Roy Milton recordings along with a scorching trumpet solo. Then there is the funky groove of "Pull it Through," with his fuzz-toned effective, and the straight urban blues "Give My Money Back," with his string bending suggesting Albert King. "Can't Get You Out Of My Mind" is a low-key, late night blues with  nice jazzy playing, intriguing tempo changes and horn backing. "Till The Day I Die," which is too rock-based for my taste,  closes this recording. I was less enamored with the rock-rooted performances here, although they are well played. However, most of this recording had strong, impressive blues performances with his excellent singing and playing, as well as an terrific band.

I received my review copy from a publicist. This review appeared originally in the July-August 2018 Jazz & Blues Report (Issue 379), although I made minor stylistic edits to that review. Here Artur Menezes performs "Should Have Never Left."

Bob Corritore and Friends Don't Let the Devil Ride

Bob Corritore and Friends
Don't Let the Devil Ride
SWMAF/Vizztone

This collection of choice Chicago blues covers and idiomatic originals is the latest from harmonica player Bob Corritore. From a variety of sessions, and with a variety of vocalists and musicians he has put together another choice dozen blues performances. Amongst those present here are vocalists Willie Buck, Oscar Willis, Bill 'Howl-N-Madd' Perry, George Bowman, Alabama Mike, Tail Dragger, and Sugaray Rayford. Among the supporting musicians are such guitarists as Big Jon Atkinson, Junior Watson, Jimi "Primetime" Smith, Chris James and Rockin ' Johnny; pianists Henry Gray, Bob Welch and Fred Kaplan; bassists Troy Sandow, Kedar Roy, Patrick Rynn, and Bob Stroger; and drummers Marty Dotson and Brian Fahey. This is not a complete listing of supporting musicians.

Just a few notes on the performances here. Willie Buck contributed the opening Jimmy Reed styled blues, "Woke Up This Morning," with his slightly mush-mouth singing and Corritore's Reed-styled harp playing making for an enjoyable performance. Oscar Wilson handles the singing on a straight cover of Little Walter's recording, "Tell Me Baby," with some real fine harp and Henry Gray pounding away on the piano. Wilson's other vocal is a solid, lazy Corritore original, "Fork in the Road," with Gray present again. It is followed by a lazy, amusing Sugaray Rayford original "The Glide," with a terrific vocal and a clever double entendre lyric. Behind Alabama Mike's moody vocal on a cover of "Laundromat Blues," Corritore plays some blistering chromatic harp. Bill 'Howl-N-Madd' Perry provides a swamp blues feel on his "Willie Mae," with a Gulf Coast rumba groove. On "I Was a Fool," George Bowman's gritty singing is backed by Corritore's big-toned chromatic along with austere backing from Atkinson, Sandow, and Fahey, while on Alabama Mike's "Blues Why You Worry Me?," the backing suggests "Scratch My Back."

Tail Dragger closes out this set for a Muddy Waters' styled blues, "Thundering and Raining," where he sings about a tornado coming and his baby not on the ground. It is not a fancy performance, but sung with heart and ably backed. That pretty much characterizes all the music on this latest album from Corritore. Fans of classic Chicago blues will find much to enjoy here. Recommended.

I received my review copy from VizzTone. This review appeared originally in the July-August 2018 Jazz & Blues Report (Issue 379). Here is a performance by Corritore and Sugaray Rayford.

How Long How Long Blues

One of the most celebrated blues recording is " How Long How Long Blues," most famous from Leroy Carr's recording. It was so popular, Carr recorded a number of sequels. Today, we explore a variety of recordings and performances of this number starting with Carr's hit.

It derives somewhat from Ida Cox's "How Long Daddy" by the great Ida Cox with Papa Charlie Jackson on the accompaniment.

Here is T-Bone Walker doing this classic.

Jimmy Yancey may be my favorite blues and boogie-woogie pianist. Here is his poetical version.

Count Basie with Jimmy Rushing singing.

Here is one by Big Joe Turner, who recorded the song several times.

The great slide guitar master, Kokomo Arnold, an influence on Robert Johnson, recorded this.

The late Lou Rawls did a marvelous rendition.

Last up for this playlist is Sonny Terry, Brownie McGhee and Leadbelly.

There are many I could have selected, but this gives an idea of the range of interpretations.

Little Freddie King Fried Rice & Chicken

Little Freddie King
Fried Rice & Chicken
Orleans Records

Having Little Freddie King's Orleans' recordings made available again will certainly be welcome by fans of the Crescent City's down-home blues performer. He was 55 in 1995, the year Orleans Records released 'Swamp Boogie,' that was his first album. For much of his career, he played hole-in-the-wall bar gigs in New Orleans, as a sideman for John "Harmonica" Williams, Polka Dot Slim, Bill "Boogie Bill" Webb and "Brother" Percy Randolph. Gary Rouzan brought him to Carlo Ditta and Ditta put together a session of sympathetic players including bassists Earl Stanley (famous for the local classic "Pass the Hatchet"), Robert Wilson and Jason Sipher; drummers Kerry Brown and Bradley Wisham; and organist and pianist "Crazy" Rick Allen. The first six sides of this 11 track CD (and side A of the vinyl LP) are from this session. The last five are live recordings issued initially King's in-concert album "Sing Sang Sung," released in 2000 with his longtime drummer "Wacko" Wade Wright; bassist Anthony Anderson, bass; and harmonica player Bobby Lewis Titullio. There are also recordings from two 1999 shows at the Dream Palace on Frenchmen Street.

Little Freddie King, unlike his namesake, was no virtuoso nor would one call him a great singer, but his exuberance and simple, straight-forward approach provide plenty for a listener (or someone at his shows to enjoy) as he plays driving, danceable songs with plenty of honesty and fervor. Jimmy Reed and the swamp blues tradition of Baton Rouge may be a source of his musical inspirations, but Freddie King's recordings is another one.

Of the eleven tracks, there are six instrumentals starting with the opening "Cleo's Back." Of interest is "The Great Chinese," which starts off as a cover of "Tequila," but only takes off from the first bars of that classic. There is a twangy rendition of "Cotton Fields Back Home, "titled "Kinky Cotton Fields." The live tracks open with "Sing, Sang, Sung," a retitled rendition of Freddie King's " Sen-sa-shun," which itself is an instrumental version of "Got My Mojo Working." Another nod to the Texas Cannonball (Freddie King) is "Hideaway."

The vocals include a nice slow blues "Mean Little Woman," a credible "What'd I Say," and the swamp blues styled "I Used To Be Down," with its Jimmy Reed's touches and it incorporates Reed's "Down in Virginia." There is a tinge of funk on "Do She Ever Think of Me" as he wonders if she ever thinks about poor Freddie and a Jimmy Reed cover, "Honest I Do."

The album closes with "Bad Chicken," a tune he continues to play today with his chicken scratching guitar. It concludes a welcome release that brings together the best of his Orleans recordings that displays the simple exuberant blues he so capably still plays.

I received my review copy from a publicist. Here is Little Freddie King performing.

Kenny 'Blues Boss' Wayne Inspired By The Blues

Kenny 'Blues Boss' Wayne
Inspired By The Blues
Stony Plain Records

The grand master of blues and boogie-woogie piano, Kenny 'Blues Boss' Wayne is back with his fourth album for Stony Plain (and I believe his tenth overall). He has written eleven new songs along with a live cover of "Georgia on My Mind." His vocals, piano, and organ are backed by a band including former B.B. King bassist Russell Jackson; Joey DiMarco on drums; Yuji Ihara on guitar; Dave Babcock on saxophones; and Bob Tildesley on trumpet. There are guest appearances from Billy Branch on harmonic; Duke Robillard on guitar; and Lynne Chwyl on backing vocals. Recorded live in Mexico, there is a different backing band for "Georgia."

Wayne is a strong blues and boogie-woogie piano player, primarily influenced by Fats Domino, Ray Charles, and Johnnie Johnson, but also Amos Milburn and Bill Doggett. He is able to handle a straight Chicago Blues like the opening "I Knew I'd Be Playing The Blues," on which Billy Branch adds his expertise. Then its a bit of rock and roll boogie-woogie on "Start Rockin'," with the lyrics having a bit of his musical philosophy with a choice guitar solo as well. Even though it sounds like he is playing an electric piano on "I Like That Woman," Kenny's playing evokes Amos Milburn. There is some fine guitar that evokes early 50's jazzy blues guitar (is that Robillard playing here), before Wayne takes an organ solo to take this performance to its close.

There is "Jimmy and Johnny," a boogie-woogie rooted song that has a lyrical theme in the vein of "Frankie and Johnny." Tildesley plays outstanding muted trumpet solo, while Wayne plays some of his best, relaxed boogie-woogie playing here on a recording where he consistently plays strongly, "Make Up Your Mind" is a rollicking Chicago blues-styled shuffle that especially shows how solid Russell Jackson and Joey DiMarco are in keeping the groove. After his relaxed, yet rollicking, boogie-woogie piano on the instrumental, "Lake Country Boogie," which also has a booting tenor sax solo, the Blues Boss pays tribute to Fats Domino with "Mr. Blueberry Hill." Wayne's lyrics, as well as his vocal and piano, captures the spirit of the Domino's legendary Crescent City recordings.

The album closes with the live recording from a Mexican concert of "Georgia," with Mati Vaarman's organ adding color as well as a greasy chicken shack solo along with Wayne's electric piano. His vocal, which is in the shadow of Ray Charles, is one of his best here, and guitarists Raul Ukareda and Jevgeni Lamba both take strong solos. Like the rest of this album, this selection is wonderfully played, and Kenny Wayne, a very affable singer, sings and plays wonderfully throughout this splendid new release.

I received my review copy from a publicist. Here is a promotional video for this release.

Andreas Varady The Quest

Andreas Varady
The Quest
Resonance Records

One of a number of younger artists Quincy Jones is currently championing, he discovered the Slovak Varady when introduced to him at the 2012 Montreux Jazz Festival when he was 12. Jones in the liner booklet states, "It's not every day that you see a 15-year-old playing like George Benson! There was something about him and he had the same type of spark that I had seen in some of the musical greats I previously worked with." Varady produced this recording and did all the composing and led this ensemble that includes his brother Adrian on drums, father Bandi on bass, fellow Slovak Radiska on saxophone and the brilliant Venezuelan-born pianist, Benito Gonzalez.

He may have been a prodigy when Quincy Jones first encountered Varady, who is of Hungarian Roma descent. Varady now displays not simply formidable chops, in what now might be considered traditional guitar vein of Montgomery, Burrell, Grant Green and the like, but is also a composer leading an excellent band. The brief "Lost Memories" introduces this ensemble with a dynamic groove as the leader's fleet runs are matched by the band. "Radio Joint" opens with Varady and Radiska playing the main theme over a repeated piano line before Varady generates a lot of heat in his solo before Radiska barrels forth in an energized post-Coltrane-mode as Gonzalez comps and solos in a manner akin to McCoy Tyner. Like Radiska, Gonzalez shows his own musical personality. There is subtle electronic effects employed at the closing portion of this performance. Gonzalez's lovely opening for "Follow Me" provides a tranquil beginning before the full band add a bit of energy with 15-year-old Adrian displaying a dynamic attack before playing more gently under the lyrical solo from Gonzalez. This is followed by the two brothers playing explosively together.

"The Time is Now" displays Varady's fleet and fluid attack along with his finesse in negotiating the changes, while the brief interlude "Patience" involves some evocative use of effects. The album gets its title from "The Quest to Dopeness." It opens with Gonzalez playing inside the piano with the two brothers add texture and colors before Varady and Radiska state the theme and negotiate the shifting tempos and melodic lines prior to the leader taking a crisp, fleet solo followed by the saxophonist's husky solo (even briefly quoting Coltrane). This is all set against the pianist's block chord and explosive drumming with the younger Varady soloing with the band riffing in support. "Story" is a beautiful composition with Varady and Radiska playing wonderfully in a lyrical manner. "Radiska" finds the group again in a post-Coltrane vein, with magical playing from Gonzalez who again channels Tyner . Also on this is  Varady's own scintillating solo and Radiska's strong sax here. One cannot lose sight of the superb work of Bandi and Adrian in providing a strong foundation. More electronic effects mix with a serene melody for the concluding "Outro."

This is the third recording from Andreas Varady, and showcases his considerable talents along with an excellent band resulting in this superb recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378), although I have made a few stylistic changes. Here is the promo video for this album.

I Wonder About Cecil Gant

Recently checking, I discovered that neither Cecil Gant nor his recording of "I Wonder," a monster selling recording are in the Blues Hall of Fame. This says more about the folks that have been making the selections and their failure to fully appreciate the music's history in making their decisions. "I Wonder" was a major recording and a hit. It helped pave the way for the independent labels that pioneered in issuing post-war blues, country and other forms of music. It was such a smash that it has has been recorded by numerous artists including Louis Armstrong, Roosevelt Sykes, Esther Phillips, Aretha Franklin and even Tony Bennett with K.D. Lang.

Gant, called the GI Sing-sation, had a very productive recording career until his early passing in his thirties in 1951. He recorded enough 78s to fill seven public domain CD reissues (Over 160 sides I believe). He was an outstanding blues singer, often witha dry wit and an exceptional pianist ranging from wry cocktail blues liike Charles Brown and Ivory Joe Hunter to a superb boogie-woogie player who also included some early blues rock and roll. I have included in this blog post several songs to give an idea of his range.

Here is "Nashville Jumps," a rocking performance.

Here is another song that has been done by a number of other blues folks including B.B. King, "I'm a Good Man, I'm a Poor Man."

Here on "New Cecil Boogie," he shows what a fine boogie woogie player he was.

Here we slow the pace down for "Blues in L.A."

Here is a song associated with Nat King Cole (and Sun Ra) that received Gant's wry, ebullient approach, "Hit That Jive Jack."

"Rock Little Baby" anticipates rock and roll.

There is plenty more on youtube of his music for you to check out. His recording career may have been brief in its time-frame (less than a decade), but he was prolific as well as being consistently terrific. He deserves recognition today, not simply as a pioneer, but one of the all-time greats.

Little Boys Blue with Kid Memphis

Little Boys Blue with Kid Memphis
Hard Blue Space
VizzTone

Nothing fancy but some straight-ahead blues performances from the Memphis based Little Boys Blue. Guitarist John Holiday (aka Kid Memphis) played Carl Perkins in the 2005 movie "Walk The Line," while vocalist and harmonica player, JD Taylor, actually played gigs with the rockabilly legend. In addition to these two, Little Boys Blue includes guitarist Alex Taylor, drummer Mark Brooks, and bassist Dave Mallard. Also present are the keyboards of Dave Thomas and the slide guitar of Andrew White, Brad Webb, and Wes Henley.

JD Taylor wrote all 11 songs, with assists from Holiday on two and Alex Taylor on one. Also, the songs are all blues with a variety of moods and tempos ranging from the opening "Six Foot Down" with its incorporation of the "Rollin' and Tumblin'" riff (and fine slide guitar) to the closing Jimmy Reed flavored shuffle "Going Back To Memphis," with his harp in the vein of the second Sonny Boy Williamson. JD is a very good singer who delivers his gritty vocals with a straight-forward honest and unmannered style. He plays strong, effective harp while ably backed by the band here and the material is solid stuff.

Other noteworthy songs include, but are not limited to, the easy-rocking shuffle "Loving Kind," with some nifty guitar lines in the vocal backing; the atmospheric title track with nice slide guitar in addition to the haunting harp; and the late evening slow blues "If the Blues Start Calling." Strong originals, strong vocals, and harp from Taylor and solid backing make "Hard Blue Square" a release worth the attention of blues enthusiasts.

I received my review copy from VizzTone. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is a performance from the album.

Detroit Bop Quintet Two Birds

Detroit Bop Quintet
Two Birds
TQM Recording Co

This digital single is a tribute to the great Charlie Parker and his quintet made up of Miles Davis, Max Roach, Tommy Potter, and Duke Jordan and the legendary recording they made at United Sound Systems in Detroit on December 21st, 1947. United Sound Systems was one of the world’s first independent recording studios, and has a wonderfully rich history, serving artists from John Lee Hooker to Jackie Wilson, Bob Seger to MC5, The Rolling Stones to Aretha Franklin, Issac Hayes to Parliament-Funkadelic to Red Hot Chili Peppers. It was founded by Jimmy Siracuse in the 1930s and has been at its current location, 5840 Second Avenue since the early 1940s. It still exists and is acoustically identical to the way it was when it was first built. The goal of this session was to "recreate the acoustic stamp that is heard on a historic 1947 Charlie Parker session, which was recorded in the very same space back in 1947."

The Detroit Bop Quintet was assembled specifically for this session and made up of four of Detroit's best Jazz musicians and Saxophonist Pete Mills from Columbus, Ohio. Others on this date include trumpeter Dwight Adams; pianist Rick Roe; bassist Paul Keller and drummer Nathaniel Winn. There is nothing surprising about this cover recording of "Bluebird" and "Another Hair Do." These are solid players who show their respect to the Parker Quintet original recordings, although Mills doesn't quite show the bluesy intonation of Parker's alto. Adams acquits himself well, as do the rhythm section, with Roe being impressive.

This is an interesting tribute to a historic record session. For more information visit https://www.tqmrecordingco.com. The website includes a technical description of the session as well as the music including another Parker composition "Klaunstance." This is available as a digital album that includes "Klaunstance," and all three tunes are in mono and stereo versions.

A publicist provided me with a download to review. This review appeared in the July-August 2018 Jazz & Blues Report (Issue 379). Here is the performance of Another Hair Do."

St. Louis Blues considered

Arguably W.C. Handy's most famous song might be "St. Louis Blues." I recall the founder of the Blues Foundation, Joe Savarin claimed that it was the most recorded song in the US history. Whatever the truth of this statement, it has been recorded and performed numerous times. Here are simply some of the many recordings of it starting with a 1914 recording from W.C. Handy's Band.

One of the most celebrated versions is by Bessie Smith with Louis Armstrong on cornet.

Louis Armstrong recorded his first version in 1930. I once heard someone suggest the difference between blues and jazz can be heard in the recordings by Bessie Smith and Armstrong.

Here is a more recent rendition from Catherine Russell from the Allen Room at Jazz at Lincoln Center. Mark Shane is the pianist and Jon-Erik Kellso plays the muted trumpet.

Here is the New Orleans clarinetist George Lewis.

Here Nat King Cole sings this classic

Earl 'Fatha' Hines did his "Boogie Woogie on Saint Louis Blues."

Albert Ammons also did a boogie-woogie interpretation.

Here is the legendary Billie Holiday.

One of my favorite versions by a bluesman is the late Johnny Copeland. It was on his first Rounder album "Copeland Special" that included jazz saxophonists Arthur Blythe, Byard Armstrong, and George Adams.

Then there is the great Furry Lewis

And the duo of Sylvester Weaver and Walter Beasley recorded this instrumental version in 1927.

Finally an early version from Duke Ellington with Bing Crosby singing.

There are so many more, but I hope you found these enjoyable.

John Clifton Nightlife

John Clifton
Nightlife
Rip Cat Records

California based Harmonica player and singer (and sometimes guitarist) John Clifton brings together a solid blues-rockabilly mix with touches of rockabilly and soul on "Nightlife." He is backed by Scott Abeyta on guitar, Matt Moulton on bass, either John Shafer or Roman Rivera on drums and Bartek Szopinski on piano or B-3.

The program consists of choice covers and interesting originals. Clifton impresses as a vocalist in the straight-forward manner suggestive of Phil Alvin of The Blasters opening with a hot take of Charlie Musselwhite's "Strange Land," as well as the hot rock and roll of his original "Brand New Way To Walk," with guitarist Abeyta showcasing some slashing rockabilly-tinged, playing.

A cover of Little Walter's "Long As I Have You," is a solid performance full of some explosive harmonica with Szopinski's accompaniment outstanding. Muddy Waters' "Still a Fool" is treated to a solid rendition with a slight distortion of his vocal contributing to the moody version here. It should be noted that Clifton has played and toured with Muddy's son, Big Bill Morganfield, playing on Morganfield's recording "Blood Stains On The Wall." The title track is a brief rocker that is not the familiar Willie Nelson classic. There also is a solid interpretation of Leiber, Stoller and Otis' "Last Clean Shirt."

A moody instrumental, "Swamp Dump," has nice understated, well thought out guitar and harmonica solos. Some spicy chromatic harmonica opens another instrumental, "How About That," that finds Clifton in a Little Walter mode with a sizzling jazzy single note guitar solo and a brief drum solo. "Wild Ride" is a sprite duet between Clifton's acoustic harmonica playing and Szopinski's piano.

The album closes with its longest performance, a terrific slow blues, "Every Now and Then." It has a heartfelt vocal and strong playing from everybody. The rhythm section, whether Shafer or Rivera on drums, bassist Moulton, and pianist Szopinski, is splendid throughout this strong recording.

I received my review copy from a publicist. This review appeared in the May-June 2018 Jazz & Blues Report (Issue 378) although I have made some minor edits. Here John Clifton performs "How About That."

Jonathan Kreisberg & Nelson Veras

Jonathan Kreisberg & Nelson Veras
KREISBERG meets VERAS
New For Now

This is a marvelous collection of duets between electric guitarist Kreisberg and Veras who plays a nylon string acoustic guitar. One can marvel at the technical mastery of each as well as their own lyrical attacks, but the interplay of each, where one might take the lead while the other comps, is also worthy of appreciation. The album opens with three originals the Kreisberg penned, and delight whether listening to Veras' chords backing Kreisberg's deft lead runs or Kreisberg lightly placing chords as Veras dazzles. Then there is the charm of "Every Person is a Story" with Veras' almost harp-like picking before Kriesberg's near bell-like single note runs.

Monk's "Bye-Ya" seems amenable to a number of approaches and the two here display as they playfully take the twists and turns of Monk's tune. Veras opens an intriguing version of Milton Nascimento's "Milagre Dos Peixes," with his tender playing. The two ably convey the poignancy of Charles Mingus' musical eulogy for Lester Young, "Goodbye Pork Pie Hat," with Kreisberg carefully laying out the theme along with embellishments and improvisation.

Similar pleasure is provided to renditions of lesser-known songs by Chick Corea and Wayne Shorter where the two delight listeners with the nuanced playing, their well-conceived solos, and accompaniment. These superb duets result in a mellifluous and exquisite recording. For more information, check out http://www.jonathankreisberg.com/kreisberg-meets-veras/.

I received a download to review from a publicist. Here the two are seen and heard performing "Goodbye Pork Pie Hat."

Spanish Harlem Orchestra Anniversary

Spanish Harlem Orchestra
15 Anniversary
Artistshare

The title of the latest recording from the celebrated Latin jazz and salsa band is that it celebrates the Spanish Harlem Orchestra's 15th year. After decades of session work, composing, arranging and producing, bandleader Oscar Hernández was approached by producer Aaron Levinson in 2000 about the idea of assembling and recording a Latin jazz orchestra. The result was "Un Gran Dia en el Barrio," the 2002 debut recording which received a Grammy nomination for Best Salsa Album and a Latin Billboard Award for Salsa Album and led to Hernández and SHO touring and wowing audiences. They have won two Grammy Awards in the years since and continue to dazzle audiences.

Certainly, this latest recording will wow listeners with contributions from all the members of this exciting band (with Randy Brecker a guest on one selection). Unquestionably, the opening "Esa Nena" by vocalist Marco Bermúdez and conga player George Delgado gets this very hot recording off. There is plenty of heat, although at a more relaxed tempo on "Yo Te Prometo," with a volcanic trumpet break and crisp solo while the latin percussion trio of Delgado, Luisito Quintero on timbales and Jorge González provide the hot rhythmic percolation with the vocalists of Bermúdez, Carlos Cascante and Jeremy Bosch do their spirited singing while Mitch Frohman's baritone along with Gerardo 'Jerry' Madera's bass helps anchor the performance along while Hernández is superb whether as part of the rhythm section or his imaginative soloing.

Other tracks to note highlight include a couple from Hernández, "Goza El Ritmo" and "Somos Uno," with the latter features some brilliant Randy Brecker trumpet, as well as a lyrical solo from the leader. One could easily discuss all of the other performances as the Spanish Harlem Orchestra dazzles throughout with their vibrant music that will thrill dancers and listeners on a terrific recording.

I received my copy from Artistshare as a participant. This review appeared in the September-October 2018 Jazz & Blues Report (Issue 380) although I have made minor stylistic edits. Here they perform "Somos Uno" live.

Bill O'Connell Jazz Latin

Bill O'Connell
Jazz Latin
Savant Records

Pianist O'Connell scores with his latest release with selections from his excellent trio, with Lincoln Goines on electric bass and Bobby Ameen on drums, with whom he played with as part of the Dave Valentin Band. Guests here include Randy Brecker, Craig Handy, and Conrad Herwig. The eleven selections include seven originals and cover a range of styles and instrumentation.

The disc opens with a celebratory salute to the 44th President, "Obama Samba" with all three soloing. There is a solid, hard swinging rendition of the Cole Porter standard "Just One of Those Things," before O'Connell switches to electric piano with Craig Handy joining in for "It's OK," followed by the trio paying respects to their late leader Valentin on winsome reflective interpretation of Wayne Shorter's "Footprints." Goines sounds excellent on this. Next is a ballad that slowly builds its tempo, "Goodbye My Friend." On this Randy Brecker employs the lower register of his trumpet. After a very appealing piano solo, Daniel Carillo adds some excellent guitar.

Flautist Andrea Brachfeld enhances "Quicksand," with is percolating groove and skittering electric piano, while "Tip Toes" is a Monk influenced original with interesting intervals and chording with some of O'Connell's most inspired playing. With Conrad Herwig adding his trombone, O'Connell provides a latin arrangement for a dazzling reinvention of Irving Berlin's "Puttin' on the Ritz." Ameen's drumming is most noteworthy here, along with an appropriately heated trombone solo from Herwig.

A tribute to his mother, "Mom's Song" includes some hauntingly beautiful guitar from Carillo along with O'Connell's moving piano. Carillo is also heard on the jazz waltz interpretation of Antonio Carlos Jobim's "Zingaro." The brief, galloping original "What Is This," brings to a close this outstanding recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is "Puttin' on the Ritz," from "Jazz Latin."

Willie Jackson Chosen By the Blues

Willie Jackson
Chosen By the Blues
Self-Produced

Savannah, Georgia based Willie Jackson is a full-throated blues shouter backed by a solid, efficient band. On this self-produced release he is backed by Jon Willis on bass, Dillon Young on guitar, Paxton Eugene on drums and Ace Anderson on harmonica. This is an EP with 6 straight-forward originals with a definite down-home flavor from Jackson's brawny baritone that is full of humor, his lyrics and the simple backing, especially Anderson's atmospheric harmonica.

He can be a clever lyricist as in his use of a fishing metaphor on "I'll Throw You Back," as he tells his woman she may think she's hot but wait till Willie gets her in his frying pan. Then when his woman isn't fulfilling her duties, he starts looking for someone else as she got caught "Sleepin' on the Job," and don't work here anymore. Guitarist Young takes perhaps his best solo here. Nothing earth-shattering perhaps, but Jackson does bring much passion to his performances.

I received a review copy from a publicist. This review appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is "Big Boned Woman," from this album.

Jim McNeely & the Frankfurt Radio Big Band Barefoot Dances and Other Visions

Jim McNeely & the Frankfurt Radio Big Band
Barefoot Dances and Other Visions
Planet Arts Recordings

This is another collaboration between an American jazz musician and a European Radio Big Band. McNeely has worked with the Frankfurt Radio Big Band over several years and this CD is a suite of seven scenes he conjured up. He notes that a couple of compositions imagine the return of great musicians no longer with us. Other compositions begin with a chamber-size vision before the whole band develops the performance. McNeely conducts the big band on this recording which he himself states "is truly a collaboration between the members of the band and myself."

The opening track, "Bob's Here" is dedicated to one of McNeely's mentors, the trombonist, and composer Bob Brookmeyer. It begins with an interchange between the rhythm section and brass before the punchy horns start working against the drums. This is followed by Christian Jasko's swirling bass trombone solo and the bluesy guitar of Martin Scales with McNeely's scoring framing these fiery solos. Peter Reiter's solo piano calmly opens "Black Snow" before the rhythm section enters to warm things and has a lovely Martin Auer flügelhorn solo. The festive "Barefoot Dances" was inspired by a Matisse painting with a spirited Günter Bollmann trombone solo over drums followed by a spirited full band section leading to Hans-Dieter Sauerborn's twisting, dancing soprano sax solo. Special mention of drummer Jean Paul Höchstädter's playing throughout this performance.

"A Glimmer of Hope" is in McNeely's words about "optimism struggling to survive in an ocean of darkness." Rainer Haute's baritone sax engages in a conversation with Peter Fell's trombone of Peter Fell followed by Manfred Honetschläger's reflective bass trombone playing. A tribute to the pioneering arranger Don Redman, "Redman Rides Again," McNeely notes Redman wrote fantastic clarinet trios, and opens with a prelude spotlighting Axel Schlosser on flugelhorn set against cascades of sounds before the main body of the piece which includes a swinging actual clarinet trio before a virtual trio of Oscar Leicht and his harmonized clarinet. Then he takes us "Falling Upwards" with a couple tenor sax solos and then a brighter take on one of the themes from "A Glimmer of Hope," before rousing tenor sax from Steffen Weber.

McNeely describes "The Cosmic Hodge-Podge," as "a vision of a cosmic soup where galaxies are replaced by blocks of sound," with sections playing against each other along with some hot solos including Axel Schlosser on trumpet. This stirring performance closes a terrific big band recording with wonderful compositions played superbly.

I received my review copy from a publicist. Here Jim McNeely talks about his collaboration with the Frankfurt Radio Big Band.

Eliane Elias Music from Man of La Mancha

Eliane Elias
Music from Man of La Mancha
Concord Records

This new release from Elias was a 1995 recording resulted from the request of Mitch Leigh, composer of the Music for the legendary musical, who loved her album playing the music of Antonio Carlos Jobim and wanted her to similarly arrange and produce a recording of the musical's music. This led to the present recording, originally produced for Leigh's private enjoyment and now with the cooperation of his family finally made available to the public on Concord.

There are two sessions represented. One with bassist Eddie Gomez and drummer Jack DeJohnette and the other with bassist Marc Johnson and drummer Satoshi Takeishi with percussionist Manolo Badrena on all but one of the nine songs heard. Many will be more familiar with Elias as a singer, but starting with the opening "To Each His Dulcinea," she displays a crisp, fluid and imaginative attack with the adept accompaniment provided. There is the reflectiveness of "Dulcinea" with some superb playing by Gomez and DeJohnette's use of brushes and the lively swing of "What Does He Want of Me," with her romanticism matched by the light, complementary backing. Elias' touch is more emphatic on "I'm Only Thinking of Him," while DeJohnette opens "Man of La Mancha (I, Don Quixote)," with a crisp rhythmic figure, echoed by Gomez before Elias enters ruminatively. With Johnson and Takeishi, she provides a Brazilian flavor for a memorable, driving interpretation of the musical's most famous song, "The Impossible Dream."

Concord is to be thanked for helping arrange for the release of this superb piano jazz recording that allows us to appreciate a side of Eliane Elias talent that gets overshadowed by her fine vocal jazz recordings.

I received my review copy from Concord Records. I have made minor changes from my review that originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378).  Here is an interview with Eliane Elias talking about the history of this recording.

Markey Blue - Ric Latina Project Raised in Muddy Water

Markey Blue - Ric Latina Project
Raised in Muddy Water
Ellersoul Records

It has been several years that singer Jeannette Markey (Markey Blue) and guitarist Latina impressed on her recording "Hey Hey." About that recording I concluded "There is so much to enjoy about this release from the strong backing, good original songs and Ms. Markey’s heartfelt, persuasive vocals. Markey Blue certain makes fans of blues and soul take note with this." Certainly much can be said about this recording of blues-tinged rock, swampy soul and blues. Listening to the impressive opening title track and "Corinne Shine," I think more of southern rock and Little Feat than Jimmy Reed and Jody Williams, but that is simply categorizing these finely performed songs. Markey is a really good singer with plenty of heart and Latino is a noteworthy guitarist as he shows behind her very fervent singing on "A Little More I Die (An Ode to John Payne)."

Credit must be given to her backing band of John Marcus on bass, Marcus Finnie on drums, Shannon Winnie on keyboards, Jim Williamson on trumpet and Doug Moffet on saxophone. But the songs are excellent as the afore-mentioned "A Little More I Die," or the driving shuffle "Red Room," on which Ronnie Owens is overdubbed on harmonica, "Mississippi Soul," with Latino's atmospheric Duane Allman styled slide or the rocking boogaloo rocker with Eddie Clearwater and horns added, "I Like It Like This." There there is a terrific, moody blues "Walking Over This Line," where Markey sings about a love gone wrong and taking too long to leave.

There is the swampy blues rock of the Delbert McClinton tribute "Come and Go," and the closing bonus track that was recorded live, a lively blue shuffle, "Drowning in His Ocean," as she joyously celebrates a lover. Markey Blue continues to deliver as a singer and songwriter with some strong guitar and excellent backing making for another notable recording.

I received from my review copy from Ellersoul. This review appears in the September-October 2018 Jazz & Blues Report (Issue 380). Here is a live 2017 performance clip of the Markey Blue - Ric Latina Project

John Colianni I Never Knew

John Colianni
I Never Knew
Patuxent Music

Renowned for his work as accompanist for Mel Tormé and Les Paul among others, pianist Colianni leads a sextet for a swing rooted recording. His prior recordings featured a two guitar quintet but the present sextet is fronted by tenor saxophonists Grant Stewart and John David Simon, with guitarist Matt Chertkoff, bassist Ralph Hamperian and drummer Bernard Linette completing the rhythm section. band Colianni sees this sextet as an offshoot of his big band, the John Colianni Jazz Orchestra. “It’s sort of a band within a band, reflecting my admiration for the Ellington and Goodman small groups." Also the two tenor aspect has its precedent, not simply in Frank Foster and Frank Wess, Eddie “Lockjaw” Davis and Johnny Griffin, and Gene Ammons and Sonny Stitt as Rusty Hassan observes in his annotation, but the great Count Basie Band of the thirties and early forties with the contrasting styles of Lester Young and Herschel Evans/Buddy Tate. Stewart and Simon have similar contrasting styles, and both are driving players with an affinity for the blues.

Colianni is a pianist rooted in the Hines-Wilson-Tatum piano lineage, who also displays awareness of more modern harmonic approaches and is a wonderful accompanist on the four originals and four covers that include the opening title number that was memorably performed by Louis Armstrong, Tommy Dorsey, Frank Sinatra and Count Basie. Basie recorded it for Columbia and two new location recordings from the Famous Door were issued as part of the recent release of materials from the Savory Collection. Colianni's rendition is swinging and the tenor players acquit themselves although they don't match Young nor is the rhythm section quite as propulsive as Basie's legendary one, but it is a swinging small group and the leader displays a deft touch. A Beethoven adaptation, Fur Elise," displays his incorporation of stride piano as well on this clever performance.

"I Didn't Know About You" is a Duke Ellington number that Colianni played behind Tony Bennett and is a lovely composition with a finely developed solo with the tenor saxes adding color. Guitarist Chertkoff gets to shine on a solid blues, "Blues For Naomi" which he observed was a tribute to “a lady who used to watch over us young players cutting our teeth at One Step Down in Washington, DC, where I grew up," and both saxophonists acquit themselves strongly. Illinois Jacquet's "Achtung," is what might be called a barn-burner with the two taking off here as if Lockjaw Davis and Johnny Griffin with Colianni's intro and stride-rooted comping evoking the early Basie.

A competitor in the first Thelonious Monk competition, Colianni and group tackles Monk's "Little Rootie Tootie," which seems taken from the Hal Overton Town Hall Concert arrangement with strong solos from Stewart and Simon before Colianni develops his own, well conceived solo and followed by some fine playing from Chertkoff. If this does not break new grounds, it is a strongly played mainstream small group jazz session that will appeal to many.

I received my review download a publicist. This review appears in the September-October 2018 Jazz & Blues Report (Issue 380). Here the John Colianni sextet performs "I Never Knew."