Jazz CD Reviews – early May 2016
May 10, 2016
Lauren White Out Of The Past: Jazz & Noir (Café Pacific CPCD 45130)
Even before hearing this excellent album, I was intrigued by its premise and title. In choosing her material, Lauren White has drawn upon songs performed on and off screen in films noir, those now classic movies that first appeared in the 1940s. Among the songs are He’s Funny That Way (from 1946’s The Postman Always Rings Twice), Again (1948’s Road House), You Kill Me (1952’s Macao) and the title song from 1944’s Laura. Other songs not heard in noir movies, but which fit the mood are Matt Dennis and Tom Adair’s The Night We Called It A Day and When All The Lights In The Sign Worked, an original by Joe Pasquale and Mark Winkler (the latter producer of this album). Lauren is accompanied by the trio of pianist Mitchel Forman, bassist Trey Henry and drummer Abe Lagrimas, Jr, with guest brass, reeds and strings on some tracks, while the arrangements are by Kathryn Bostic, herself a singer and composer, who is sole accompanist at the piano on Haunted Heart, which comes from the 1948 Broadway musical revue Inside U.S.A. The arrangements skilfully transport the music from that long ago era to the present day while still retaining reflections of the original source. As for the personal appeal of the title, although not musically represented here, Out Of The Past is one of the classics of the genre. My own interest in the source material inspired one of my books, Film Noir: Reflections In A Dark Mirror, (available as an e-book) and I have also written on the subject elsewhere on this site (December 2013). Lauren’s voice ably suits the material, moodily introspective where needed, bringing to mind the imagery of film noir, those shadowed, neon-lit, rain-streaked streets brought vividly to Hollywood by those filmmakers who had hurriedly left Germany during the late 1930s and early 1940s where they had worked with such distinction in the Expressionist period of European cinema. The singer’s clarity of diction allows the listener to consider the words, perhaps in some cases overlooked when they were heard on and off screen as nuanced shading rather than as spotlit features. This last point is underlined by Lauren’s interesting choice of Amado Mio from 1946’s Gilda, rather than the decidedly un-nuanced Put The Blame On Mame (explosively performed on screen by Rita Hayworth and dubbed by Anita Ellis). Based in Los Angeles, Lauren sings in jazz venues (as she does also occasionally in New York), and also works in the theater and television as actor and producer. With this, her fourth album, should she choose to do so she will surely substantially extend her audience.
Louis Heriveaux Triadic Episode (Hot Shoe HSR 110)
Although well known in and around Atlanta, Georgia, as a sideman, Louis Heriveaux is now attracting wider attention as a soloist and fronting a fine trio. The repertoire chosen here includes standards, Everything I Love, Body And Soul and All The Things You Are, jazz pieces, Kenny Dorham’s Blue Bossa and Mulgrew Miller’s From Day To Day, as well as originals by the trio. These are Swing’n Things, by drummer Terreon Gully, Lundy’s Blues, by bassist Curtis Lundy,Theme For DosLyn and One For Simus, by Louis, and Triadic Episode, by Louis and Curtis. Throughout, Louis plays with a gentle touch, bringing out all the inherent subtleties of the compositions and also improvising intelligently upon the themes. There is also a swinging rhythmic undertow brought to the occasion by the pianist and his companions. The piano-bass-drums trio is perhaps the most ubiquitous format among jazz groups but there is no sense of sameness here. Instead, the music is fresh and thoroughly entertaining and this, his debut album, is sure to broaden his appeal to include a much wider audience than hitherto.
Daria Strawberry Fields Forever (OA2 Records 22129)
With this album, Daria takes up a demanding challenge, because in common with many latterday composers of pop songs, John Lennon and Paul McCartney did not customarily follow the 32-bar AABA pattern for popular songs that has supplied so much material to the jazz repertoire. One result of this is that with only scattered exceptions the songs of the Beatles, for the most part composed by Lennon and McCartney, have not been widely used by jazz singers. Among those exceptions is Connie Evingson, who sings some of their songs on her albums Let It Be and All The Cats Join In (about which there is more in an earlier post). One result of a jazz artist drawing her repertoire from this source is the pleasing quality that many of the songs are familiar but not overdone in jazz circles. Among the most familiar are The Fool On The Hill and Can’t Buy Me Love, by McCartney, and Strawberry Fields Forever by Lennon. Other songs heard here are Come Together, written by Lennon, after having failed to find the right material for a gubernatorial campaign song wanted by Timothy Leary, and his deeply introspective Julia, written in memory of his mother. There are also a few non-Beatles songs, including Daria’s original, She’s Going Home, inspired by Lennon and McCartney’s She’s Leaving Home. Some of the songs have undercurrents of sadness, others are light-hearted; Daria shows her respect for the mood of the originals, but throughout offers her own concepts, which display her affection for Latin music. Daria’s vocal sound, creamily-rich and flowing, allied as it is to her ability to delve deeply in her interpretations, bring fresh life to songs that are, however hard it is to believe it, around half a century old. For this album, Daria has surrounded herself with leading Bay-area musicians, including, as her core rhythm team, Jonathan Alford, keyboards, Sam Bevan, bass, and Deszon Claiborne, drums. In addition to the trio there are brass, reed, percussion and string instruments that richly extend the tonal palette in a very agreeable manner.
For more information on Lauren White, Louis Heriveaux and Daria, including booking arrangements, see Mouthpiece Music.
Other informative and entertaining sites you might enjoy:-
Jazz Journal –
Vintage Bandstand –
Jazz Flashes –
Jazz Wax –
Frank Griffith –
John Robert Brown –