New Orleans High Society

New Orleans High Society
Self-Produced

New Orleans High Society originally started with a weekly gig in New Orleans playing a distinctive interpretation of the traditional New Orleans repertoire. Based on the traditional jazz sound of George Lewis, Kid Howard, and the like, the group adds sprinklings of Afro-Cuban, gospel, and modern trip-hop. Having played together awhile, they put together this eponymously titled recording. The group is comprised of Cleveland Donald - Trumpet, Lead Vocals, David Bode - Soprano & Tenor Saxophone, Peter Gustafson - Trombone, Yacine Sebti - Piano, Vocal, Stephen Bohnstengel - Bass, and Trenton O'Neal - Drums. Angie Z sings on one selection.

The band's repertoire does not have many surprises, and they play with a clean feel. Trumpeter Donald is a genial, if not striking vocalist, as shown on the pleasant "Down By the Riverside" that opens this set. There is more fire in his trumpet playing and ably supported by the band. One of the highlights is the Afro-Cuban rendition of Hoagy Carmichael's "New Orleans," with Arnold again crooning before Bode takes a rugged tenor sax solo against the energetic rhythm. Gustafson takes a gruff trombone solo as well. There is also a well-played rendition of Duke Ellington's "Creole Love Song." Gustafson's outstanding growling plunger mute trombone is featured along with some lovely clarinet by Bode.

An entertaining rendition of "Ice Cream" may not capture the unbridled enthusiasm of George Lewis' performances, but it has charm. Pianist Sebti ably handles the vocal on "On the Sunny Side of the Street," along with some choice piano and then solos by Gustafson and Donald. A pleasant staple of the Chicago school of jazz, "At the Jazz Band Ball," follows before Angie Z charms us with her vocal on "When It's Sleepy Time Down South." The band imaginatively reworks the trad standard, "That's A Plenty," that sports a Bode soprano solo before the performance segues into an Afro-Cuban groove with Donald's trumpet adding tropical heat over Sebti's Afro-Cuban piano before transitioning back into the traditional; arrangement.

A pleasant rendition of the New Orleans folk standard "Lil' Liza Jane" closes a well-played, imaginative, and entertaining traditional jazz rooted recording.

I received a download of this album from a publicist. Here is "New Orleans" from this album.

Aubrey Wilson Quartet Honeysuckle Rose

Aubrey Wilson Quartet
Honeysuckle Rose
Self-released

The Fats Waller song "Honeysuckle Rose" provides the debut album's title from vocalist Aubrey Wilson's Quartet. This album was recorded at Toronto's Canterbury Music Company by Jeremy Darby with Ms. Wilson's vocals accompanied by Chris Bruder on piano and Wurlitzer, Tom Altobelli on bass, and Sean Bruce Parker on drums. Luis Deniz plays alto saxophone, and Scott Taplay plays guitar on two selections, respectively.

Wilson is gifted with an appealing voice with her pure, clean phrasing and diction, as well as fluid, nuanced phrasing. The group has worked out some fresh arrangements for some familiar songs, including the opening "Nature Boy," with a stutter step groove, tuneful scatting, and Taplay's searing rock-inspired guitar. Particularly impressive is the reflective rendition of the title song, taken at a far slower tempo than usual. Taplay's guitar adds atmosphere with his use of effects. There is her singing on a charming, relaxed waltz, "Alice in Wonderland," followed by the relaxed swing of "I Will Wait for You" with Deniz's marvelous dry martini alto sax solo.

 Also notable is the vocal for Mark Murphy's lyrics for Oliver Nelson classic "Stolen Moments," with her horn-like phrasing complemented by Bruder's keyboards. Another unexpected delight is the melodious performance of The Beatles' "Norwegian Wood," with a free-floating piano solo and propulsive drumming. The remaining selections are of a similar level and receive superb backing on this excellent set of jazz vocals.
 
I received a download of this album from a publicist. This CD is available on bandcamp, https://theaubreywilsonquartet.bandcamp.com/album/honeysuckle-rose. Here is a short clip of her performing.

Kid Ramos/ Bob Corritore Phoenix Blues Sessions

Kid Ramos/ Bob Corritore
Phoenix Blues Sessions
SWMAF Records/ Vizztone

This album is one of three new releases from harmonica player and blues producer Bob Corritore's vaults. These are sessions from the late 1990s to the early 2000s that were initially released as a benefit album for Kid Ramos in 2012 when he had a cancer scare. It has been revised, remastered, and reimagined for a commercial release. Included are previously unissued material, new mixes of material, and alternate takes. Besides Ramos on guitar and Corritore on harmonica, Chico Chism is on drums throughout. Chico sings on one track. Other singers here include Nappy Brown on two songs, Henry Gray on four (he plays piano on five), Chief Schabuttie Gilliame on two, Big Pete Pearson on two, and Dr. Fish on one. Other players include Johnny Rapp on guitar or mandolin, Paul Thomas on bass on all but one song, Mario Moreno on bass on one, and Tom Mahon on piano for six.

There is plenty of straight-forward and noteworthy performances starting with an exceptional shuffle rendition by Nappy Brown of Walter 'Lightnin' Bug' Rhodes' "Aw Shucks Baby," with the Kid laying down an easy rhythm accompaniment as Henry Gray rocks the ivories. In contrast to Nappy's blues shouting, he takes a more relaxed folky vocal on Smokey Hogg's "Baby Don't You Touch My Clothes." Kid Ramos is more prominent with some slashing guitar backing Henry Gray's vocal on "Come On In." I am not familiar with Dr. Fish, but he is outstanding singing Eddie Boyd's "24 Hours." Corritore is terrific on chromatic harmonica while Kid Ramos plays some jazzy single note fills. Henry Gray returns for a first-rate rendition of Elmore James' "I Held My Baby Last Night." Gray is upfront with Kid Ramos' guitar in the background as he channels some of Elmore's accompaniments to Willie Love and Sonny Boy Williamson. Gray also enthusiastically revives Hot Lips Page's "They Raided The Joint," and the easy rocking shuffle "Talkin' Bout You."

Big Pete Pearson's cover of Albert King's "Natural Ball" is taken at a more relaxed pace than King's original, with Kid Ramos adding drive to the groove with his playing. Kid Ramos' stunning Muddy Waters styled slide guitar is present on Pearson's reworking of Little Milton's recording "Possum in My Tree." Pearson takes this strong soul-blues and makes it an intense Chicago blues for one of this album's highlights. Chico Chism handles the vocal on an imaginative rendition of "Mother-in-Law Blues," as Kid Ramos channeled Willie Johnson and Calvin Newborn. It is a sterling performance taken at a much slower tempo than the song is usually performed at. Chief Schabuttie sings "No More Doggin'" with a hoarse, graveling vocal set against a chugging groove. Kid Ramos adds some stunning playing to Schabuttie's "Snake Crawls at Night" that closes this disc.

Blues lovers will enjoy this collection of very entertaining traditional ensemble blues, and for those, like me, who missed the original release will welcome this edition.

I received my review copy from Vizztone. Here is a performance by Bob Corritore and Kid Ramos but not from this album.

Jeff Williams Live at the London Jazz Festival - Road Tales

Jeff Williams
Live at the London Jazz Festival - Road Tales
Whirlwind

Ohio native, drummer Jeff Williams, has become part of the London England jazz scene, and "Road Tales" is his sixth release for Whirlwind. This live performance has him leading a quartet with longtime collaborators, altoist John O'Gallagher and tenor saxophonist Josh Arcoleo, and bassist Sam Lasserson completing the rhythm section.

A simple reference point for this quartet's music might be Ornette Coleman's Quartet or Old and New Dreams, with a bit of some of the AACM or BAG bands tossed in. "New and Old" is not a composition inspired by the group Old and New Dreams, but instead inspired by his father's passing. Against the rhythm section's free-floating support, Arcoleo robust and rambunctious tenor sax impresses. He mixes flurries of notes with sustained tones. Bassist Lasserson is an anchor for this band as well as a solid soloist. O'Gallagher provides a contrast in tone but also has a rowdy sense in his playing.

While the entire performance was fascinating, there were some standout moments. There is a Caribbean feel to "Borderline" with the two horns stating the melodic line over Williams' light drumming. O'Gallagher takes a lengthy, heated solo followed by one by Lasserson. Williams' tempestuous drum solo opens up "Oddity," with interesting rhythm changes and O'Gallagher's fiery alto sax. Among the other selections are three compositions, "Under The Radar," "Search Me," and "Scrunge," that form what Williams laughingly refers to as "the airport security suite." It is an intriguing 'suite' mixing some free-floating and free form improvisations with funk sections.

There is much to praise about "Road Tales." Jeff Williams and his first-rate quartet provide listeners with an excellent and engaging set of contemporary jazz.

I received a download to review from a publicist. Here is "Double Life" from the album.

Erin Harpe Meet Me In the Middle

Erin Harpe
Meet Me In the Middle
Juicy Juju Records/VizzTone

The daughter of a gifted blues interpreter and painter, Erin Harpe, has developed into quite a blues singer and guitarist. After several successful albums with her Delta Swingers, he new album is an album of duets with her husband Jim Countryman who plays ukulele bass and adding backing vocals. She is a fine guitarist and singer. Her vocals are sweet and sassy, being more Bonnie Raitt than Joanne Kelly, but delivered with a natural, unforced quality.

A relaxed, back porch feeling characterizes these performances, whether the traditionally rooted originals like "Hard Luck Woman," or a heartfelt cover of Sippie Wallace's "Women Be Wise." She is a marvelous guitarist, and her slide playing evokes the late Alan Wilson of Canned Heat fame on an assured rendition of "Rollin' and Tumblin'." Other standout tracks include her revival of Lucille Bogan's "I Hate That Train Called the M&O," and the minstrel-rooted "Pick Poor Robin Clean."

Harpe also does justice to her rendition of Memphis Minnie's 'What's the Matter With the Mill" before closing this recording with an old-time country-styled gospel original "One Fine Day." Erin Harpe, a first-rate interpreter of traditionally rooted blues, has produced another gem of a recording.

I received my review copy from Vizztone. Here is Erin performing "Rollin' and Tumblin'."

Amber Weekes The Gathering

Amber Weekes
The Gathering
Amber Inn Productions

I was captivated by Amber Weekes' wonderful album, "Pure Imagination" from earlier in 2020. This latest release is a wonderful Holiday album backed by an all-star group of musicians, including strings and horns. She utilizes Mark Cargill's arrangements along with a cast of top Los Angeles-based musicians. These include pianists Josh Nelson, Tony Campodonico, and Eddy Olivieri; bassists John B. Williams, Adam Cohen, and Kevin Brandon; drummers Fritz Wise, Sinclair Lott, and Nathaniel Scott; guitarists Paul Jackson, Jr., Doug MacDonald, and Jacques Lesure; tenor-saxophonist Rickey Woodard; trumpeter Andrew Carney; and a string section.

Weekes enchants with her honey-voice, the clarity of her diction, her phrasing, and her vocal dynamics. With Josh Nelson's elegant piano, Carney's muted trumpet, and Cargill's lush string arrangement, she immediately connects to the listener with "The Christmas Waltz." Then she embraces "I'll Be Home For Christmas" with an understated, whispered vocal set against a light accompaniment. There is superb acoustic guitar from Paul Jackson, Jr. Cargill provides a hard-swinging arrangement for Weekes' flirty vocal for "I Saw Mommy Kissing Santa Claus," with Rocky Woodward's sterling tenor sax in the spotlight as well. Jacques Lesure's bluesy guitar adds to the atmosphere of "What Are You Doing New Year's Eve."

Saxophonist Woodward adds his robust playing to the playful swing of "Winter Wonderland," which is followed by a soft, sweet rendition of "Silent Night." Weekes contributed the lyrics to the joyous title track Cargill, and guitarist Gregory Cook wrote the music for. With backing vocals and Mark Cargill adding a violin solo, this track celebrates families gathering for the holiday season. It is an exuberant end to this delightful, exquisite holiday jazz vocal recording.

I received my review copy from a publicist.

Corey Ledet Zydeco

Corey Ledet
Corey Ledet Zydeco
Nouveau Electric Records

Houston born Corey Ledet keeps the zydeco flame burning bright with this new release full of hot grooves and soulful vocals. It was mostly recorded at Dockside Studios, Maurice, Louisiana, in June 2019, with one selection recorded during the Covid-19 lockdown. Corey is featured on lead, harmony and background vocals, accordion, drums, and washboard. Others playing on this album are Cecil Green on Hammond B3 organ, bassist Lee Allen Zeno, harmonica player Grant Dermody, Julian Primeaux on rhythm and lead guitar and backing vocals, and Gerard Delafose on drums and washboard.

Ledet comes from a family rich in music history. His great grandfather played bass with Bunk Johnson, while his grandfather, Buchanan Ledet, was the first zydeco drummer playing with Clifton Chenier and Rockin' Dopsie. Buchanan invented the twice-pumped bass drumming pattern called "double clutching" that's been an integral part of the genre ever since and is celebrated by the exuberant "Buchanan Ledet Special," one of several songs enthusiastically delivered in French.

Things start with the spirited "This Is All I Want," which conjures up the non-stop grooves of Boozoo Chavis. It is followed by "Buchanan Ledet Special," which has a brief spoken introduction. "Mon Marche" is a French rendition of Fats Domino's "I'm Walking" in a manner that would make Clifton Chenier smile. A bit more of a Clifton Chenier flavor is heard on "Per Mo (Call Me)." Grant Dermody adds a harmonica solo here. Dermody also is featured on the warp speed rendition of Ledet's cover of Big Joe Turner's hit "Flip Flop and Fly." He captures some of the high energy of such post-Chenier-Buckwheat Zydeco acts like Dwayne Dopsie. Try not to at least move one's feet listening to this track.

"Nina's Hot Step" is a traditionally rooted two-step creole instrumental that is a solo performance that Corey recorded to complete this project and adds to the variety of music here. Also, there is a delightful waltz, "Mon Make (I Miss)" that evokes Chenier's "Louisiana Waltz" from an early Arhoolie album. Ledet evokes some of the zydeco greats without imitation and, with his superb accordion playing and first-rate singing, has produced a sterling recording. The only possible complaint is that the playing time is short, but there is not one wasted moment.

I received a review download from a publicist. After writing the review I came across an article about the issues the pandemic has created for cajun and zydeco artists with the closure of clubs and cancellation of festivals that were major sources of their income. Corey was one of the artists mentioned, so purchasing this album helps Corey out in addition to providing the listener with some superb music. It is available on Bandcamp, https://coreyledetzydeco.bandcamp.com. Here is a video of Corey performing a song not on this album, "Promised Land Two Step." Yes, that is Paul 'L'il Buck' Sinegal on guitar on the left.

Henry Gray & Bob Corritore Sessions Vol. 2: Cold Chills

Henry Gray & Bob Corritore
Henry Gray & Bob Corritore Sessions Vol. 2: Cold Chills
SWMAF Records/ Vizztone

This is the second volume of performances the late Henry Gray made with Bob Corritore, the Phoenix blues promoter, harmonica player, and record producer. It collects 14 performances (and one phone message) recorded over the span of a couple of decades. Gray was a mainstay of Howlin' Wolf's band for over a decade before relocating to Louisiana. He passed away in January 2020 at the age of 95. I wrote about the previous volume, "This is a solid and delightful collection of classic Chicago blues with a touch Louisiana swamp blues mixed in. Given that this is labeled Vol. 1, one looks forward to a further release of Henry Gray's blues sessions with Bob Corritore." That further release has arrived.

Besides Gray's Chicago piano, he sings on eight tracks. Other vocals are provided by John Brim, Jimi' Primetime' Smith, Eddie Taylor Jr., Tail Dragger, and Chief Schabuttie Gilliame. The impressive musicians heard here include guitarists John Brim, Bob Margolin, Eddie Taylor Jr., Robert Lockwood Jr., Johnny Rapp, Illinois Slim, Johnny Burgin, Chris James, and Kirk Fletcher. Chico Chism handles drums on most selections with Brian Fahey, Steve Cushing, and Marty Dodson also are heard. Bassists include Bob Stroger, Troy Sandow, Paul Thomas, Patrick Ryan, Pops McFarlane, and Mario Moreno.

Gray was a husky pianist influenced by the great Big Maceo, but with his own distinctive style and phrasing. The opening selection "Cold Chills' is a strongly performed slow blues he first recorded over a half-century ago. Margolin and Corritore add strong guitar and harmonica in support. There is a rollicking rendition of GL Crockett's "Look Out Mabel" with a hint of "Mystery Train" in the melody. A John Brim phone message telling Bob he should hook up with Gray leads to Gray backing Brim on a terrific Chicago blues "Moonlight Blues." It is followed by Eddie Taylor Jr.'s fine rendition of Jimmy Rogers' "Going Away Baby." Gray's backing on these tracks are terrific. Also, Tail Dragger is heard on the slow Howlin' Wolf styled "Hurt Your Feelings," and the rocking shuffle "Birthday Blues." Chris James and Kirk Flecther enliven this last recording.

Gray provides a robust vocal to "Mother-in-Law Blues" with a choice Robert Lockwood Jr. guitar solo in addition to Gray's choruses. The is plenty of energy in Gray's rendition of J.B. Lenoir's "The Mojo," and even an unusual cover of Hank Ballard's "The Twist." This number was from Gray's last Phoenix session with Corritore. This collection of Henry Gray performances closes with a robust rendition of "Going Down Slow," with outstanding guitar from Johnny Rapp. The performances here are consistently enjoyable with several exceptional ones. As I said about the earlier release, this is a delightful collection of Chicago blues with a touch of Louisiana swamp blues.

I received my review copy from Vizztone. Here is a performance by Henry Gray and Bob Corritore of Jimmy Rogers "Blues Won't Let Me Take My Rest."

Greg Nagy Stranded

Greg Nagy
Stranded
Big O Records

This writer first became aware of singer-guitarist-songwriter Greg Nagy as part of the soul-blues group Root Doctor, when they appeared at the Pocono Blues Festival. Shortly after that appearance, Nagy focused on a solo career. About his last recording “Fell Toward None,” I observed that it was "an intelligently produced and performed recording that is full of soulful vocals, superior fretwork and focused accompaniments."

Nagy's latest recording, "Stranded" (Big O Records), reunites him with his frequent collaborator, Jim Alfredson who handles the keyboards and produced this with Nagy. Alfredson may be best known as keyboard player with the terrific vocalist Janiva Magness, but is an outstanding keyboard player and has produced several strong organ jazz recordings. Zach Zunis guests and solos on one of the tracks which are mostly Nagy originals (with several choice covers).

At the time of recording "Stranded", Nagy's 24 year old marriage was in dissolution and the pain from that colors these performances. This tone for the album is set with the title track (by Rick Whitfield and Jeff Paris) where he sings about being "stranded in the sea of tears in an island of broken hearts." The passion of his vocal is matched by his short guitar lines, and that is characteristic of the performances here where the focus is on the singing, not on his guitar chops. On Alfredson's "Walk Out That Door," Nagy tells this lady that he can tell she's lying and things won't be the same anymore. There is a strong solo break by Alfredson here.

Noteworthy is the rearrangement of a Bobby Bland classic "Ain't No Love In The Heart of the City" which is given a reggae groove as Nagy sings strongly. Perhaps no song covers the heartache Nagy was going through as "I Won't Give Up," with a compelling lyric of a scared heart and not giving up or give in, and with the lean, tight backing it is a commanding performance. Another striking performance is "Long Way To Memphis" with its stark, insistent groove, while "Been Such a Long Time," with Nagy singing "its been such a long since you gave her love away" and holding her heart apart, has a funky groove that certainly will get folks up and dancing.

If the tone of many songs here are of broken hearts and relationships, Nagy sings that all he wants to hear his woman say is "welcome home, welcome home" on the closing "Welcome Home," a ballad by Kevin McKendree that closes out this album. "Stranded" is a another excellent recording by Greg Nagy that brings together solid playing, strong, soulful material and vocals that are full of heart and conviction.

I received my review copy from a  publicist. This review originally appeared in the May-June 2025 Jazz & Blues Report (Issue 360). Here Greg performs "Born Under A Bad Sign" from 2013.

Doxas Brothers The Circle

Doxas Brothers
The Circle
Justin Time

The Doxas Brothers, Chet on saxophone and Jim on drums, have been making music together since they were in the crib. In their Mid-teens, they started playing in night clubs, and their early days found them playing in dance bands, rock n roll clubs, society parties, radio shows, and even burlesque reviews. Since those days, Jim and Chet have gone on to tour the world and played with some jazz giants, including Carla Bley, Oliver Jones, Dave Douglas, John Abercrombie, Steve Swallow, and Joe Lovano.

Filling out the band are bassist Adrian Vedady and pianist Marc Copland. Vedady is a long-time associate of both brothers and has played with Jim at the Upstairs Jazz Bar in Montreal every Monday night for the last ten years. Copland, Jim, and Adrian have performed together as a trio for several years, providing a tight, empathic setting to add saxophonist Chet. Copland dazzles on the title tune as well as on Adrian Vedady's "Temporal," after the composer's impressive bass solo. "Temporal" is also notable in showcasing the band's ability to shift the musical temperature as the performance evolves.

Chet Doxas also composed a gorgeous ballad, "A Word to the Wise," that is played at a stately tempo with exceptional solos from him and pianist Copland. Another notable track is "Joan's Song," which had moments that suggested Keith Jarrett's American Quartet. "Another Soapbox" is a terrific performance that starts as a pianoless trio before Copland enters with restrained piano. Chet Doxas plays with plenty of fire before Copland solos with Jim Doxas imaginatively adding rolls and rhythm accents.

Chet Doxas displays his exquisite ballad playing on Gordon Jenkins' jazz standard "Goodbye." It concludes this consistently excellent recording. The Doxas Brothers impress with this recording, and one looks forward to more from this superb band.

I received a download of this album from a publicist. Here the Doxas Brothers perform "The Circle."

Thelonious Monk Palo Alto

Thelonious Monk
Palo Alto
Impulse!

Much has been written about the circumstances that led Thelonious Monk to perform at a California High School while Monk and his quartet were appearing at a San Francisco club. You can look up stories in the New York Times and other sources, or the liner notes for this fascinating 1968 Concert recording that has been released after a short delay. In any event, Monk was with his quartet of Larry Gales on bass, Charlie Rouse on tenor sax and Ben Riley on drums for an afternoon set.

A gorgeous rendition of "Ruby My Dear" opens and the highly underrated Rouse sounds wonderful as Monk lays down his unusual accompanying accents and unique solo. This is followed by a length rendition of "Well You Needn't" that Rouse opens with a lengthy solo. Monk follows with a solo displaying his distinctive note and chord placements while Riley dances with the groove before soloing himself. It is an exhilarating performance followed Monk playing a remarkable solo piano rendition of "Don't Blame Me," that displays his stride piano roots. The full Quartet returns for a swinging, "Blue Monk," the afternoon's lengthiest performance with all the members soloing. A crisply, energetic "Epistrophy" follows before the concert (and this recording) closes with a lovely solo piano rendition of "I Love You Sweetheart of All My Dreams."

This must have been a wonderful afternoon (the full details are included in the accompanying booklet) and the music still sounds fresh and contemporary 52 years after it was performed. Monk lives.

I received a download to review from a publicist. Here is the Thelonious Monk Quartet from another performance playing "Round Midnight."

Classic Blues Artwork From the 1920's - Vol. 18

Various
Classic Blues Artwork From the 1920's - Vol. 18
Blues Images

This is the latest Blues Calendar put together by collector John Tefteller. Like past editions, this Calendar for 2021 brings together for each month twelve stellar images taken from rare photographs and record company advertisements that appeared in African American newspapers. For each month, the accompanying CD includes a recording by the artist depicted by the picture or ad. There is also brief biographical information for that artist. The accompanying CD also included recordings by other artists or previously unissued test recordings.

Until recently, the compilation only included pre-World War II recordings. This year we still have twelve recordings relating to the Calendar illustrations. All extra selections are all by one artist, pianist-singer Lost John Hunter. Hunter's eleven songs include the first Blues Session that Sam Phillips recorded at his Memphis Recording Service, the legendary Sun Records Studio. While there is no mention if the recordings on this CD were restored using the American Epic series process, the sound is outstanding.

The first selection is a rowdy string band number by Peg Leg Howell and His Gang, "Too Tight Blues." That number showcases the down-in-the-alley fiddling of Eddie Anthony. Bertha Henderson, accompanied by Blind Blake, delivers a brooding, melancholy vocal on "Terrible Murder Blues," about killing another woman so she "can't stay here no more." Murder is also the theme of pianist Walter Roland's "Cold Blooded Murder," a fine blues in a Leroy Carr manner (think Carr's "Mean Mistreater") with Josh White adding some exquisite guitar. Josh White's guitar is also heard supporting the great Buddy Moss on Moss' superb East Coast blues, "Undertaker Blues." The interplay between White and Moss is sublime.

Meade Lux Lewis' "Honky Tonk Train Blues" is one of the greatest piano blues ever recorded. Tefteller obtained a new store stock copy of the original Paramount 78 (he would rerecord it frequently), and it is a pleasure to hear this legendary recording in such clean condition. It is followed by another blues classic, John Lee 'Sonny Boy' Williamson's "Good Morning School Girl." On this often covered classic recording, Williamson's vocal and harmonica is accompanied by Robert Lee McCoy (aka Robert Nighthawk) and Big Joe Williams. Next up is Lead Belly's "New Black Snake Moan," which showcases his forceful singing and driving twelve-string guitar on a commercially released recording. Next up is a recording, "Pneumonia Blues"  by Lead Belly's one-time musical partner, Blind Lemon Jefferson.

Willard "Ramblin'" Thomas's superb slide guitar is displayed on a terrific "Hard To Rule Woman Blues." It is followed by Victoria Spivey's "Witchcraft Blues," a previously unissued recording from her last Vocation recording session in 1937. Her strong vocal about hoodooing her man is backed by a vibrato-heavy saxophonist and a plodding drummer.  Blind Boy Fuller's "Rag, Mama, Rag," with Reverend Gary Davis on second guitar and washboard, is one the finest Piedmont Blues with superlative fingerstyle guitar and a wonderful vocal. A rambunctious performance by Rev D.C. Rice, "The Angels Rolled The Stone Away," opens with his hellfire preaching before he leads his congregation in enthusiastic song. It concludes the Calendar portion of the accompanying disc.

Lost John Hunter's real name was Lindell Woodson. He was born blind and became the pianist and organ player at the Church of Gold in Christ in Memphis. He changed his name to Lost John Hunter so he would not rile up members of the congregation who were not fans of Devil's music. With guitarist Herman Green and a couple of other friends, he formed a group Lost John Hunter and His Blind Bats, and they made the 11 selections, all of which were previously unissued. His second session produced recordings that were released on the West Coast 4 Star Records.

Hunter was a gravelly, hoarse singer with a rough barrel-housing piano style backed by Green's guitar in a manner that has a feel to some of Sunnyland Slim's late 40s and early 50s recordings with Robert Lockwood Jr., if not quite as accomplished. There are two takes of "Miss Thelma Mae," a song similar to Detroit bluesman Baby Boy Warren's "Hello Stranger." Other selections include a boisterous instrumental, "Lost John's Pinetop's Boogie," and two takes of another slow blues, "You Gotta Heart of Stone." Another track is an early alternate of "Boogie For Me Baby." He would rerecord it at his second session, and that recording would be issued on 78. Musically, this song suggests an attempt to capture some of the boogie-woogie success of Cecil Gant. This selection has some of his best piano playing among the tracks by him, which add to the value of this year's Calendar and CD.

While this year's Calendar is available at other sources, you can get more information at BluesImages.com, including details on previous Calendars and some previous CDs, along with t-shirts and posters.

I purchased the Calendar and CD. Here is the back cover.

Kurt Allen Whiskey, Women & Trouble

Kurt Allen
Whiskey, Women & Trouble
Self-produced

Listening to singer and guitarist Kurt Allen, this writer is reminded, in part, of the late Johnny Copeland, particularly with his urgent, raspy singing. His guitar playing is more in a blues-rock vein, but with a very capable band of Lester Estelle Jr. on drums, Craig Kew on bass, and Beaux Lux on keyboards on keyboards and saxophone, the overall effect is pretty blues-oriented. Pete Carroll adds trumpet while Trevor Turla plays trombone on half of the ten songs. Beaux Lux wrote all of the horn arrangements, while Allen wrote all of the songs.

While the opening "Graveyard Blues" comes across as a bit heavy-handed blues-rock, things get more to a straight blues groove on "Watch Yo Step," with a strong vocal, as he tells his women he is wise to her ways with the horns riffing in support. His guitar tone on these opening numbers comes across to these ears as a bit too distorted. He certainly puts plenty of fervor in the slow blues "How Long," for instance. The title track is a fine rocking shuffle with a leaner guitar tone. This track is followed by an aptly titled "Funkalicious" with Allen adding a spoken rap about soul food. Other songs include a heartfelt soul ballad "Count On Me," and the strutting "Roadrunner," which is neither the Bo Diddley nor Junior Walker tune. Lux adds raspy sax on this selection. The album closes with the crisp rock and roll of "Sweet T," with Lux playing some rollicking piano and Allen adding some searing guitar.

My only reservation about this recording is the tone of Allen's guitar. My comparison to Johnny Copeland is based only on, what I find to be, a similarity in their respective voices, not that Allen is trying to sound like Copeland. Allen is an excellent singer who receives top-notch backing resulting in a most engaging album.

I received my review copy from a publicist. Here from 2020, the Kurt Allen Band performs "Better Think Twice."

A Gulf Coast Christmas

Various Artists
A Gulf Coast Christmas
Gulf Coast Records

Mike Zito is one of the forces behind Gulf Coast Records, which has quickly established itself with a number of releases of blues, blues-rock, and roots. This new recording is a collection of Holiday Season covers and originals but the label's growing group of artists. The album has songs by Mike Zito, Albert Castiglia, Kat Riggins, The Proven Ones, Mark May, John' Blues' Boyd with Lisa and Kid Andersen, Diana Rein, Kevin Burt, LeRoux, Jimmy Carpenter, Billy Price, Sayer and Joyce, Thomas Atlas, Odds Lane, and Tony Campanella.

Like many blues and roots holiday music collections, this collection's songs have secular themes instead of carols and hymns' renditions. This collection also provides an overview of the artists on the label. Folks may find some of the performances more compelling than others. Overall, I was impressed by the performances' quality, with a few exceptional ones in the mix. Sure there will be some performances that don't catch your ear, but overall this is a highly entertaining compilation.

Songs range from the blues-rock of Mike Zito's "All I Got For Christmas Is The Blues," to Tony Campanella's soulful reworking of Albert King's recording, "Santa Claus Wants Some Loving." Albert Castiglia stands out with his high energy fretwork on "Somebody Stole My Chris," while Kevin Burt lays down some down-home grit for "Please Mr. Santa Claus." Billy Price lays down some terrific blue-eyed soul on "Christmas Comes But Once A Year," while John Blues Boyd duets with Lisa Andersen on "Merry Christmas Baby," as Kid Andersen plays some sterling guitar. Another duet of note is between Mark May and Miss Molly on "Blue Christmas."

Mike Zito channels Chuck Berry on a frenetic "Run Rudolph Run" that closes the 16 performances that is full of bluesy holiday cheer.

Incidentally the download I received from a publicist to review only contained the music. I did not receive information on the personnel or other recording information. Here is the full track-listing: 

1. All I Got For Christmas Is The Blues - Mike Zito
2. Somebody Stole My Christmas - Albert Castiglia
3. Please Mr. Santa Claus - Kevin Burt
4. Christmas Comes But Once A Year - Billy Price
5. Blue Christmas - The Proven Ones
6. Back Door Santa - Jimmy Carpenter
7. It Ain’t Christmas - Kat Riggins
8. Santa Claus Wants Some Lovin - Tony Campanella
9. Merry Christmas Baby - John Blues Boyd / Lisa Andersen / Kid Andersen
10. Ring The Bells - Diana Rein
11. The Bluest Christmas - Mark May / Miss Molly
12. Who Da Baby Daddy? - LeRoux
13. Christmas Is Cancelled - Thomas Atlas
14. Santa Claus Is Back In Town - Odds Lane
15. Please Come Home For Christmas - Sayer and Joyce
16. Run Rudolph Run - Mike Zito

Here is a video for Mike Zito's "All I Got For Christmas Is The Blues."

Stacy Mitchhart Live My Life

Stacy Mitchhart
Live My Life
Dr Sam Records

A fixture on the Nashville music scene, singer, guitarists and songwriter Stacy Mitchhart has a new recording "Live My Life" (Dr. Sam Records) that clearly establishes that their is far more to the music scene in Music City than simply country. Mitchhart wrote most of the 11 selections on this recording with a few choice covers and on this his vocals and guitars is mostly supported by Michael Dearing on bass guitar, Darin James on drums, James Tipton on keyboards and harmonica, Cory Distefano on trumpet, Jules Caldarena on saxophone and John Hinchey on trombone.

Mitchhart has put together quite an engaging, diverse set of performances that are marvelously played. Mitchhart's vocals are suggestive of Delbert McClinton with an appealing touch of raspiness. His delivery of lyrics are solid as well and his writing produces its share of gems such as the opening "Drink Whiskey" where he sings about drinking whiskey not to forget but rather to remember why "I ain't with you." While the groove is a bit to heavy for personal taste, there are plenty of nice tastes such as saxophonist Caldarena's phrases and Mitchhart contributes a slashing solo. In contrast, the rollicking slide guitar (sort of a frenzied Fred McDowell) gospel setting of "Live My Life" he shouts he will live as he chooses and not how we want him do as Tipton adds some down home harp for this blues hoe down.

While the promotional material highlights a cover of the Beatles' "Come Together," it is a rendition of a lesser known Bill Withers song, "Better Off Dead" that is the disc's highpoint as he sings about how his drinking caused his wife and children to leave him and he's better off dead as he's too scared to live alone. He conveys quite an emotional wallop singing against a swampy-guitar backing. Also nicely done is the smooth funk of Gil Scott Heron's "Legend In His Own Mind," with nice jazz-inflected guitar. Other standout selections include "I'm the Reason (She Walks That Way)," a celebration of his relation with his lady. This selection sports some marvelous horn solos. "Soul Stroll" is a marvelous instrumental with a solid groove and Mitchhart and Tipton (on organ) shining on an tune that sounds like a homage to Booker T & the MGs.

"Live My Life" is a recording of blues, soul and roots that will travel far from Stacy Mitchhart's Nashville home with its strong musicianship, nuanced and soulful singing and excellent material.

I believe a publicist sent me a review copy. This review originally appeared in the July-August 2015 Jazz & Blues Report (Issue 361). Here Stacy performs "Come Together."

 

Hilliard Greene Spirituals

Hilliard Greene
Spirituals
Unseen Rain

Bassist Hilliard Greene served as Jimmy Scott's musical director for twenty years. He has associations with Cecil Taylor, Don Pullen (as a member of Pullen's trio), Steve Swell, Barry Altschul, Dave Douglas, Charles Gayle, and others. Currently a teacher as well as player, this is at least his second album of solo bass recordings.

Despite the title, this is not a recording explicitly of spirituals. It does display Greene's technique as well as his ability to sustain solo performances. This ability is whether he is playing Arco (bowed) or pizzicato (plucked). His personality is displayed on the opening "Blues For Will" as he states the melody. It is followed by a medley of bebop themes that he fluidly segues in "Bop Trilogy." One of the more intriguing selections is "Charlie Wade," which starts with some floating playing before transitioning into "Wade in the Water."

Several tracks have Greene singing or chanting as he repeats the phrase "Couldn't Hear Nobody Pray" while he furiously repeats a bass riff. His melancholic Arco playing sets forth a somber mood before he shifts to playing pizzicato on "Freedom." After some dazzling plucking, he softly sings, "Freedom, and on my way home" against his atmospheric bowed bass. A medley of "Let My People Go" with "Michael Row Your Boat Ashore" begins with his arco playing of the bass' lower register evoking a deep bass vocalist. His bowed bass similarly brings an interesting flavor to "Swing Low." In contrast, there is some spirited plucking for "Things My Favorite," a fascinating solo bass reworking of "My Favorite Things.

The album concludes with Greene's dynamic walking bass on a tribute to the pioneering string bassist "Wellman Braud." While one might wish to sample a few selections at a time rather than listen to this album in one sitting, Greene's firm, precise playing, and improvisations on this album are quite impressive. It is a most unusual and intriguing recording full of striking performances.

I received a download to review from a publicist. Here is a video of him performing "Swing Low Sweet Chariot."

Simone Kopmajer Christmas

Simone Kopmajer
Christmas
Lucky Mojo Records

Austrian-born vocalist Simone Kopmajer impressed this listener with her 2019 engaging and charming recording, "Spotlight On Jazz." Her latest release focuses on the Christmas season and includes some seasonal favorites and some favorites from her homeland. Backing her on this project are pianist John di Martino, bassist Bob Kozlow, drummer Reinhardt Winkler, saxophonist and clarinetist Aaron Heick, and tenor saxophonist Terry Myers. Also present on several tracks are keyboardist Geri Schuller (who also plays Jews harp), bassist Beat Wiesinger, trumpeter Dominik Fuss, saxophonist Florian Fuss, bassoonist Georg Stepanek, dulcimer player Lukas Ganster, and diatonic accordionist Heinz Steinbauer.

Reviewing "Spotlight On Jazz," I was much impressed by "the clarity of her singing, her musicality, the purity of her sound, her phrasing and her diction." These same qualities are evident in this program of holiday music that spans jazz and folk traditions. Her singing also receives top-flight backing by the groups led by Mr. di Martino and the Austrian musicians starting from her playful, flirty rendition of "Santa Baby" and concluding with a bilingual "Silent Night/ Stille Nacht."

In addition to her exquisite singing, there is plenty of pleasures from the backing musicians. Mr. di Martino provides an elegant piano solo on "Santa Baby," along with a marvelous horn arrangement. Then there is a swinging "Jingle Bells," with some superb scatting and interplay with Heick's alto sax. Then there are Austrian hymns such "Leise Rieselt Der Schnee," with the Schick Singers adding their lovely harmony along with Heick's bluesy alto sax. Viktor Garnot joins in the understated duet vocal of "Baby, It's Cold Outside," with choice piano from di Martino and velvety clarinet by Heick.

Among the Christmas favorites included, Ms. Kopmajer composed a delightful original "The Most Wonderful Time," with Anna Catherina adding harmony. Other holiday favorites include "Have Yourself a Merry Christmas, "Feliz Navidad," "White Christmas," and the Austrian Carole "Es Wird Scho Glei Dumpa." Allen Harris adds his warmth to an engaging treatment of Mel Torme classic, "The Christmas Song." None of these performances are copies of more familiar renditions,

Three Austrian tunes (including "Silent Night/ Stille Nacht") close out this album of Christmas music magic. The delight of her singing, the varied program (including the fresh arrangements), and first-rate backing, result in an exceptional recording. Simone Kopmajer"s "Christmas" is a recording that will bring listeners considerable holiday cheer.

I received my review copy from a publicist. Here is "Baby, It's Cold Outside," from this album.

Laura Tate Live From El Paso

Laura Tate
Live From El Paso
811 Gold Records LLC

A career as an actor and singer, performing on stage and television, and directing music videos and documentaries, Laura Tate has this new album recorded in her present hometown of El Paso. Tate recruited a fine band for this live recording, that was a benefit concert. The band's foundation was pianist Jeff Paris on piano, Doug Hamblin on guitar, Terry Wilson on bass, and Tony Braunagel on drums. Also present is a horn section of Lee Thornburg on trombone, Darrell Leonard on trumpet, and Joe Sublett on saxophone. Teresa James adds backing vocals.

One shouldn't be surprised by Tate's singing. Her smooth, fluid phrasing, clean intonation, and ability to shade and build a performance's intensity are notable. There is a quality to these performances, including the striking backing she receives. Her songs transverse a range of material opening with Mel Harker's "No Place to Hide," that strikes these ears as a sophisticated performance that would have been at home on a 1960s pop recording of a Brill Building song. Then there is her updating of Thin Lizzy's "The Boys Are Back In Town."

Starting wistfully, the tempo kicks it up a notch into a swinging rocker that showcases her deft singing. Darrell Leonard's searing trumpet and Doug Hamblin's biting guitar complements her sultry Peggy Lee sounding vocal on "I Need a Man." Allen Toussaint's "Hittin' on Nothin" has a groove reminiscent of Don Covay's "See Saw." With Jeff Paris emulating Toussaint's Crescent City piano, Tate solidly interprets the Irma Thomas recording with strong solo breaks by Sublett and Hamblin. There is a touch of vinegar to her vocal on the reflective "Still Got the Blues," followed by the swamp-soul flavor of "Nobody Gets Hurt." Also standing out is her dreamy vocal on "Cowboy Jazz," and the buoyant jump blues, "Big Top Hat."

The sweet soul of "If That Ain't Love" is the final track on this splendid recording covering a range of musical modes. Tate, as indicated, is a top-flight singer who is splendidly supported on this excellent recording.

I received my review copy from a publicist. Here she sings "Still Got the Blues."

Hazar Reincarnated

Hazar
Reincarnated
Immersive Audio Network

Las Hazar, known simply by his last name, will undoubtedly awaken many ears with his superb acoustic guitar as represented on this CD/Blu-ray Disc release. On a musical program ranging from bebop to Brazilian music to Gypsy swing, he displays not simply impressive technical fluency but a melodic and improvisatory sense that, at times, is astonishing. He is joined on one selection by Al DiMeola. Others heard on this release include pianist Mike Roelofs, bass clarinetist Piotr Torunski, and percussionist Mehmet Katay.

The clarity of his tone, phrasing, and inventiveness is immediately evident on the opening "Made For Wesley," where he quietly builds his solo throwing in dazzling single note runs over the airy backing. Chick Corea's "Spain is a superb duet with DiMeola, who also plays the cajon on this track. There is more astonishing guitar on Dorado Schmitt's "Bossa Dorado." What is impressive is that no matter how fast Hazar plays, the melody remains the roots of his improvisation. At the same time, his ability to add to the beauty of a piece is shown on the rendition of "Black Orpheus," which is also a showcase for Roelofs' romantic lyricism. Some of these same qualities are also evident in the performance of "Summertime."

After a scintillating performance of Charlie Parker's "Donna Lee," this album closes with a superb solo rendering of the traditional "Le Vieux Tzigane." It caps a recording of a remarkable, virtuosic guitarist whose technique, if often startling, never betrays the music's melodic foundation. As observed, this release comes with a Blu-ray Disc of the performances. Not having a Blu-ray player I was not able to evaluate that portion of this package.

I received my review copy from a publicist. Here is the performance of "Bossa Dorado."

José Rizo's Mongorama Mariposas Cantan

José Rizo's Mongorama
Mariposas Cantan
Saungu Records

Popular Los Angeles DeeJay José Rizo founded Mongorama in 2011, a nonet inspired by the great conga master Mongo Santamaria's early 1960s band. This album is the group's third album under the musical direction of flutist Danilo Lozano. The personnel on this recording are Justo Almario (tenor sax, flute); Danilo Lozano (flute, musical director); Ramon Banda (timbales); Dayren Santamaria (violin); Joey De Leon (congas); James Zavaleta (lead vocals); Joe Rotondi (piano); Alfredo Ortiz (guiro, bongo, bell, chekere, vocals); George Ortiz (timbales); and Ross Schodek (bass). Darynn Dean, Yoshigei Rizo, and Alexis De La Rocha are guest vocalists. Francisco Torres plays trombone on one selection, wrote nine of the arrangements, and co-wrote five compositions with Rizo. This album includes the final recordings of Ramon Banda, who is considered one of the greatest of timbales players.

"Mariposas Cantan" is an exhilarating recording for Latin Jazz fans. I point to "Mongorama," a Santamaria composition that provided this group its name. Besides the spirited ensemble playing, there is a section where the percussionists are featured playing over a piano vamp. On his solo, Banda scorches the groove on timbales. There is so much to enjoy from all the players. I was especially impressed by Dayren Santamaria's violin playing, whether as part of the horn ensembles or taking his terrific, soaring solos such as on the opening track, Cal Tjader's "Mambo Minduro." Almario's tenor sax impresses throughout, including his solo on the Rizo/Torres original "Mariposas Cantan" with James Zavaleta's vocal.

Danilo Lozano is featured on flute on "Helen of Jazz." He is also one of the soloists on his ebullient original "Fiesta de Charangueros." Alfredo Ortiz takes the lead on this spicy number that also spotlights violinist Santamaria, pianist Joe Rotondi, and George Ortiz on timbales. Other notable selections include a relaxed "Watermelon Man," harking back to Mongo Santamaria's classic hit recording of the Herbie Hancock composition. Joe Rotondi on piano and Joey De Leon on congas take first-rate solos. It is Justin Almara's tenor sax solo that especially shines here.

There is plenty of tropical heat on "Descarga Ramon Banda," which is Ruiz and Torres' celebration of their 'musical brother," with Rotondi exquisite on his solo. At the same time, Francisco Torres plays some fiery trombone, and Zavaleta leads the impassioned vocals. "East L.A. Meets Napa" honors an annual event that features "the amazing wines made by the hard-working Mexican-American winemakers." The exhilarating ensemble supports the exuberant singing and Lozano's floating flute. It closes this superlative recording. One should check one's pulse if one isn't at least tapping one's feet, listening to this outstanding recording.

I received my review copy a publicist. Here is Mongorama performing with special guest Hubert Laws.

Chris Smither More From the Levee

Chris Smither
More From the Levee
Signature Sounds

This new recording from the noted singer-songwriter Chris Smither brings forth ten new tracks that produced the 2014 release "Still on the Levee." As I wrote reviewing that earlier recording," Smither is a singer-songwriter whose performances and songs have a Dylanesque flavor as well as deep blues roots in his direct finger style guitar playing. As Charlie Hunter, his former co-manager observes, Smither's guitar style is 1/3 Mississippi John Hurt, 1/3 Lightnin' Hopkins and 1/3 himself." His swirling guitar playing and feet stomping is combined with Billy Conway's drums and percussion on this album. Guests, including Dana Colley on baritone sax and the late Allen Toussaint on piano, are heard on selected tracks.

Smither's gravelly vocals have a restrained world-weary quality that adds to the appeal as he sings his colorful lyrics that have such haunting lines such as "Help me get these pieces together, Make it so the seams don't seem to show, …" from "Confirmation." Another example is "Turn off that radio, It's like I am talking to myself." from "Drive You Home Again." Colley's low volume baritone lends to the sober background on this track. Jimmy Fitting on harmonica, Goody on piano, and Anita Subanin on background vocals join the melancholy feel of "I Am the Ride." With its street busker tempo, "What I Do" comes off as somewhat cheerful with its invocation of second lines and beads and rice. Allen Toussaint's piano adds a light, sophisticated feel to the part talking blues, "Let It Go."

With Smither's way with words, his enervated sounding vocals, and the deft, but restrained, accompaniment, the ten new Smither tracks on this album further showcase this remarkable singer-songwriter.

I received my review copy from a publicist. For an example of his music (but not on this recording) here is Chris Smither's rendition of "Sitting on Top of the World."

Rachel Caswell We're All In The Dance

Rachel Caswell
We're All In The Dance
Turtle Ridge Records
 
With so many recordings issued, it is easy to miss one. As an example, there is this two-year-old album from Rachel Caswell. It is a marvelous recording with a delectable choice of songs as well as top-flight playing behind her. Guitarist Dave Stryker also produced this and wrote the arrangements (although Caswell collaborated on the arrangements for two tunes). Others in the studio band are Fabian Almazan on piano and fender Rhodes, Linda May Han Oh on bass, and Johnathan Blake on drums. Her Grammy® nominated sister, Sarah Caswell, adds violin to three of the ten songs.

From her first entrance on Sting's "Fragile," she impresses with the exquisite qualities of her silky-voiced singing, intonation, phrasing, vocal dynamics, and articulation of the lyrics. Stryker's guitar, Sarah Caswell's violin, and Caswell's fluid horn-like scatting add to her performance's weight. The songs here celebrate love and love's heartbreaks from the easy swing of "A Lovely Way To Spend the Evening" to the blues of "Drown in My Own Tears." Stryker and Almazan are superb soloists, although Blake and Oh both take crisp, short breaks on "A Lovely Way."

Caswell's gorgeous voice shines on the title song, a light waltz. This vocal is another song that her sister's violin adds to the color. Caswell dazzles on Bob Dorough's "Devil May Care," while there is an easy Latin tinge to "Two For The Road." Her nuanced phrasing on this latter number contributes to another engaging performance. Another notable performance is her scatting tour de force on Charlie Parker's "Dexterity."

 
Also heard is an outstanding rendition of Jon Hendricks' lyrics to Thelonious Monk's "Reflections (Looking Back)," with restrained, supple backing and Almazan's understated piano solo. It closes this superb vocal jazz recording.

I received my review copy from a publicist. Here is a promo video for this recording.

John Németh Stronger Than Strong

John Németh
Stronger Than Strong
Nola Blue Records

With his latest recording, John Németh moves away from the soul-blues singing that has marked much of his career towards a grungy, swamp roots style. Németh's vocals and harmonica are backed by The Blue Dreamers, whose members are Danny Banks on drums, Matthew Wilson on bass, and John Hay on guitar. Adam Hill, who was the recording engineer, plays the tambourine. Németh wrote ten of the twelve songs on this album.

Németh has a reputation as a soul-blues singer, but while one can get here some of this in his vocals on this recording, this CD is more in a blues and roots vein. Some of his vocals have a distorted quality as heard on as on the opening "Open and Take It," where he sounds like he is singing through his harmonica microphone. On a passionate cover of a lesser-known Junior Parker recording, "Sometimes," it sounds like a little reverb was applied to his singing. His harp playing is as vital as ever while the backing trio provides efficient, effective backing. Guitarist Hay provides some biting fills and driving blues-rock solos such as he plays on "Throw Me in the Water."

The band puts together a chugging groove on "Chain Breaker," a blues where Németh pleads about trying to get through to his lover. "I Can See Your Love Light Shine" has a bouncy ska-like groove. "Bars" perhaps has his most straightforward soul singing with Wilson laying down a memorable bass line and Hay playing some sparkling accompaniment. "Deprivin' A Love" is a driving slab of blues-rock with Banks repetitious, insistent drumming pushing this performance along with Hay adding an acidic riff. There is a first-rate cover of Jesse Belvin's "Guess Who." It is striking how slow Németh and the Blue Dreamers play, something not many bands can pull off.

Some may be surprised by the rawness and approach that Németh takes on this album, but no one should be surprised how much of his personality he invests in this most intriguing recording.

I received my review copy from a publicist. Here is a video for "I Can See Your Love Light Shine."

The Spanish Harlem Orchestra The Latin Jazz Project

The Spanish Harlem Orchestra
The Latin Jazz Project
ArtistShare

The Grammy® Award-winning Spanish Harlem Orchestra's latest project is their first full Latin Jazz project by the ensemble is considered today's premier salsa ensemble. Oscar Hernández, the leader of the SHO, has himself released two acclaimed Latin jazz albums. The Latin Jazz Project presents a new side to the Spanish Harlem Orchestra. Co-producer and trombonist Doug Beavers says: "…we really wanted to present SHO in a different light with this project- that of a world-class ensemble that can go toe-to-toe with any renowned jazz ensemble or jazz orchestra in the world."

The band on this recording includes Hernández on piano; Marco Bermúdez, Carlos Cascante, and Jeremy Bosch (who also plays flute) on vocals; Héctor Cólon, Manuel 'Maneco' Ruiz, and Jonathan Powell on trumpet and fluegelhorn; Doug Beavers and Noah Bless on trombone; Jorge Castro on baritone sax; Liusito Quintero on timbales, shekere, shakers, and chimes; George Delgado on congas; Jorge González on bongos; and Geraldo 'Jerry' Madera on bass. Mitchell Frohman plays baritone sax on one selection.

SHO has included jazz artists on its prior recordings, including Chick Corea, Joe Lovano, and Randy Brecker. There is an impressive group of jazz giants on this date, including Miguel Zenón, Kurt Elling, Bob Mintzer, Bob Franceschini, Tom Harrell, Jimmy Haslip, Dave Liebman, Jonathan Powell, Michael Rodrigeuz, and Joe Locke that contribute to the performances here.

Of the prior SHO recording "Anniversary," I wrote that "the Spanish Harlem Orchestra dazzles throughout with their vibrant music that will thrill dancers and listeners on a terrific recording." Indeed much can be said about the strong and varied performances here. Hernández contributed seven of the eleven tracks on this album that are melodically and rhythmically captivating. His "Ritmo Di Mi Gente" opens and showcases Bosch's flute and his piano along with the volcanic percussion section. Marty Sheller composed and arranged "Bobo," a tribute to the great Willie Bobo, which is a feature for Bob Mintzer's brawny tenor sax.

Doug Beavers arranged the jazz standard "Invitation." Doug Beavers' arrangement is taken at a tad too quick a tempo for Kurt Elling's vocal. It is not a bad vocal, but one suspects that it would have been more convincing if it had been played slightly slower. Miguel Zenón's alto sax ably negotiates this pace on alto sax. Hernández's "Las Palmas" sounds like a Latinized rendition of a TV theme with its memorable melody. This track is a feature for Tom Harrell's lyrical trumpet. One of Hernández's most beautiful compositions on this album is "Silent Prayers," with Jimmy Haslip's rhythmically intriguing electric bass solo, Jeremy Bosch's lovely flute, and David Liebman's serpentine soprano sax solo.

Gene Amato crafted the arrangement for Thelonious Monk's "'Round Midnight." The lively performance is taken at a quicker tempo than usual and showcasing Jonathan Powell's fiery trumpet solo. Bosch's flute and vibes master Joe Locke charm on "Latin Perspective." SHO showcases its explosive salsa roots on "Descarga De Jazz," the only selection with vocalists along with Mitchell Frohman's raucous baritone sax solo. It caps another outstanding recording from the Spanish Harlem Orchestra with memorable compositions, terrific arrangements, first-rate ensemble work, and excellent solos.

I am not sure if I purchased this or received it from a publicist. Here is "Ritmo Di Mi Gente" from this recording.

Ben Levin Carryout or Delivery

Ben Levin
Carryout or Delivery
VizzTone

About Ben Levin's previous album, "Before Me," I wrote that "he plays and sounds with a maturity far beyond his youth." I concluded, "After listening to this recording several times, I am struck by how fresh this music keeps sounding. "Before Me" is an exceptional recording." "Carryout or Delivery" is his follow-up recording recorded during the Covid-19 pandemic. Recorded in mid-June 2020, he is backed by his father Aron Levin on guitar, Oscar Bernal on drums, and Chris Douglass on bass.

Ben Levin wrote eight originals, and there are four covers. With this solid backing band, he is heard on piano, electric piano, and organ. He again impresses with his unforced, heartfelt vocals as well as his superb keyboard playing. He mixes flourishes of virtuosity with more nuanced playing. He evokes Otis Spann's piano on the opening "You Know" as he sings to his baby that if she keeps running around on him, she won't be around him much more. He displays an adroit touch on the electric piano is displayed on "Too Good For Me." "Carryout or Delivery" has a jazzy tinge with a vocal chorus, and Aron Levin adding tasty fills in addition to Ben Levin's sophisticated piano solo.

"Nola Night" is a delightful instrumental with a Latin tinge evocative of the Crescent City. Another salute to the Crescent City is a top-notch rendition of Professor Longhair's recording "Hadacol Bounce." Also of note is Levin's unrushed cover of Frank Frost's "My Back Scratcher" with him playing some restrained but greasy organ. Another selection is his introspective rendition of Floyd Dixon's "Time Brings About a Change." It is a standout rendition in the manner of Dixon and Charles Brown and closes another outstanding recording from Ben Levin.

I received a review copy from a publicist. Here is a selection from this album.

Ashley Locheed & Chris Rottmayer So in Love

Ashley Locheed & Chris Rottmayer
So in Love
Timucua Arts Foundation

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

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

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

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

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

Nicholas Brust Frozen In Time

Nicholas Brust
Frozen In Time
Fresh Sound Records

Nicholas Brust is part of the current New York scene. He attended the New England Conservatory in Boston, where he studied with Jerry Bergonzi, Frank Carlberg, Ran Blake, John McNeil, Donny McCaslin, and Miguel Zenón. Before that, he attended the Eastman School of Music, where he studied with Walt Weiskopf, Harold Danko, and Chien-Kwan Lin. This young alto saxophonist, composer, and bandleader has other influences, including Michael Brecker, George Coleman, Robert Glasper, Kurt Rosenwinkel, Kenny Garrett, Roy Hargrove, Frank Strozier, and Bob Berg. On his first full album, Brust is backed Ben Eunson on guitar, Tuomo Uusitalo on piano, Josh Allen on bass, and Jay Sawyer on drums.

From the opening notes of "Work Ahead," one is impressed by Brust's imposing dexterity and sound, as he casts forth ingenious improvisations backed by a first-rate group. The opening track is performed at a breakneck pace, yet he spins his thoughtful ideas with apparent ease. Brust calls "Hearts and Spades" an attempt to draft a pop-jazz tune. It is a lovely ballad starting with a counterpoint line between piano and bass. Bassist Allen solos over Uusitalo's chording before Brust's own melodic blues-inflected ballad playing. Eunson solos over the ostinato while Sawyer's light playing adds rhythmic accents. Another lovely performance is "Brooklyn Folk Song," with more exquisite alto sax. "Frozen in Time" captures one's attention with a bass riff that loops around with Brust and Eunson, jointly laying down the main melody.

"Adversity" is one of several compositions that Brust has written as a homage to the New York scene. Its theme is evocative a Woody Shaw's compositions and features a scintillating guitar solo. Brust dazzles with the fluid development of ideas before the tempo changes to a crawl and sax and horn riff supporting Uusitalo's solo. "Something Like a Storm" is another memorable performance with tempo changes, turbulent musical sections, and Brust's use of dynamics in building the intensity in his solo. The final track, "A Shifting State," is a drummer-less trio with Eunson and Allen. It has a catchy melody set against a shifting rhythmic framework that Allen's bass provides.

"Frozen In Time' is an auspicious debut. Nicholas Brust has crafted ear-catching tunes, which are the foundation for his imaginative and skilled improvisations in the company of a first-rate band.

I received my review copy from a publicist. Here is a 2015 performance of "Brooklyn Folk Song."

Nora Jean Wallace BluesWoman

Nora Jean Wallace
BluesWoman
Severn Records

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

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

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

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

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

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