January 30, 2017
Beata Pater Fire Dance (B&B Records BB 0421)
An earlier album by Beata Pater, Golden Lady (BB 0419), reviewed here, featured her singing a pleasing selection of well-known yet underused songs with just piano and bass accompaniment. On this new release, she sings a collection of wordless songs, all of them originals by Alex Danson, and for these she is joined by a seven-piece band. Rhythmically varied, the music touches on eastern Europe, the Middle East and north Africa, all cloaked in American concepts, including contemporary R&B and jazz/funk. Beata’s vocal sound, soft and intimate, draws the listener in and despite the absence of words succeeds in creating a warmly intimate and lyrical air. The nature of the songs heard here showcases Beata’s musical skill, honed though training as a violinist at Warsaw’s Music Academy, and also as a session singer in Japan. The singer’s accompanists here are saxophonists Sam Newsome, Anton Schwartz, Aaron Lington, keyboard player Scott Collard, bassist Aaron Germain, drummer Alan Hall, and percussionist Brian Rice. Adding immeasurably to the texture of these performances, use is made by Beata of multi-tracking, thus creating a highly effective vocal chorale. The absence of lyrics enhances the Beata’s role as a fully integrated member of the ensemble, her voice being used instrumentally. An attractive album that presents yet another aspect of this multi-faceted artist’s work.
Sidney Jacobs First Man (Baby Chubs Records)
After singing in church and touring internationally with the Albert McNeil Jubilee Singers, Sidney Jacobs performed operatic roles and also jazz. Family needs directed him toward a career outside music (he had mastered in Clinical Psychology and Educational Psychology) but music was an ever-present facet of his life. Writing numerous songs in a wide range of genres, Sidney continued to sing, eventually releasing his debut album, Been So Long, in 2013. On this, his second album, Sidney performs seven of his own songs as well as works by Sacha Distel, The Good Life, Bill Withers, Lonely Town Lonely Street, Richard Rodgers and Oscar Hammerstein II, My Favorite Things, James Taylor, Secret O’ Life, and others. Sidney’s accompaniment ranges from single instrument (Secret O’ Life with Josh Nelson, piano), duo (The Good Life with Nelson, piano and Zephyr Avalon, bass) to seven- and eight-piece groups. Collectively, these musical collaborators are Nolan Shaheed, trumpet, Wendell Kelly, trombone, Josh Johnson, alto saxophone, Michael Jarvey, piano & viola, Greg Poree, guitar, Zephyr Avalon, bass, Justin Thomas, vibraphone & marimba, Francesco Canas, violin, and Efa Etoroma Jr, drums, and on three tracks Sidney is also backed by vocalist Cathy Segal-Garcia. A strong, mature and distinctive voice enhances Sidney’s original compositions and his unusual and always interesting variations on familiar songs commands attention.
More information on Beata Pater and Sidney Jacobs (including albums and booking) can be found at Mouthpiece Music.
Nick Fizer Hear & Now (Outside In Music OiM 1701)
On this, his third album, trombonist Nick Fizer displays not only his exceptional instrumental skill but also his ability as a composer. All but one of the tracks are Nick’s compositions, and with them Nick seeks unity at a time of division (the exception is a fine interpretation of Duke Ellington’s Single Petal Of A Rose). Although division and strife knows no boundaries, the USA in particular is today divided despite its origins as a land of hope and freedom. What the composer strives to find are ways in which introspective thought might supersede the shoot-from-the-hip approach so often suffered (sometimes quite literally). Given the album concept and the international mood it might be thought that this would result in gloomy music but that is not so. Yes, there are compositions that depict the dark side of life today but there are also optimistic works, suggesting that come what may there will one day be a time of unity in the world. Among Nick’s works heard here are We The People, Race To The Bottom, New Beginnings, and Love Wins. The other instrumentalists joining Nick are Lucas Pino, tenor saxophone and bass clarinet, Glenn Zaleski, piano, Alex Wintz, guitar, Dave Baron, bass, and Jimmy Macbride, drums.
More information on Nick Fizer, including albums and booking (as well as February and March nationwide tour dates) can be obtained from Braithwaite & Katz: [email protected]
January 16, 2017
Andrea Claburn Nightshade (own label)
On this, her debut album, Andrea Claburn sings an attractive selection of songs, some her own, others by notable composers mostly from the world of jazz. A trained and skillful musician, as a child Andrea studied piano and violin with the encouragement of her parents (her mother was a classical pianist), going on to study singing, composing and arranging. This culminated in her being awarded the California Jazz Conservatory’s Mark Murphy Vocal Scholarship. Five years later, in August 2015, she returned to the Conservatory to teach vocal technique, performance, and musicianship. Andrea’s sound is rich and warm, which is not only admirably suited to her interpretation of ballads but also brings depth and intensity to up-tempo songs. Importantly, Andrea’s treatment of the lyrics of the songs she sings shows understanding and empathy. Her own songs, words and music, are Lionheart, My Favorite Flavor, The Fall Of Man, Colors Of Light, and Steal Away. The others are Duke Ellingtons’s Echoes Of Harlem (with Andrea’s lyrics and retitled Infinite Wisdom), Bill Evans and Gene Lees’ Turn Out The Stars, Pat Metheny’s Bird On A Wire (Andrea’s lyrics), Turner Layton and Henry Creamer’s After You’ve Gone, Betty Carter’s I Can’t Help It, Mark Shelby’s Daybreak (Andrea’s lyrics), and Hoagy Carmichael and Johnny Mercer’s Skylark. Cushioning Andrea is the core trio of Matt Clark, piano and keyboards, Sam Bevan, bass, and Alan Hall, drums. Guests added on some tracks supplying support and soloing ably are percussionist John Santos, guitarist Terrence Brewer, trombonist Rob Ewing, trumpeter Erik Jekabsen, alto saxophonist Kasey Knudsen, tenor saxophonist Teddy Raven, violinist Mads Tolling, and cellist Joseph Hébert. A wholly admirable debut and it’s good to know that a new generation of singers is in good hands.
Ron Boustead Unlikely Valentine (Art-Rock Music)
Since the early 1980s, singer-songwriter Ron Boustead has been prominent on the Los Angeles jazz and contemporary music scene. An accomplished musician, Ron studied bass, piano and guitar but has concentrated on writing and singing. He has written lyrics to music composed by several jazz luminaries including Freddie Hubbard and Chick Corea. On Unlikely Valentine, Ron is joined by Bill Cunliffe and Mitchel Forman, who share the role of keyboard player (piano, Rhodes and Hammond B3), John Leftwich, bass, Pat Kelley, guitar, and Jake Reed, percussion. Also heard are instrumental guests Ron Stout, flugelhorn, Bob McChesney, trombone, and Bob Sheppard, tenor saxophone and flute (the latter especially notable on Autumn Leaves). Vocally, Ron’s admiration of Mark Murphy is apparent in some of his work, in particular with his improvisational ability, and on some songs he builds his vocals in much the same way as a jazz instrumentalist performs. On this album, apart from his own compositions, Ron has brought his lyric-writing skill to music by Pat Kelley, Til Now, Bill Cunliffe, Unlikely Valentine, and Bill Cantos, I Won’t Scat. There are also lesser-known songs by well-known composers: I Love My Wife, by Cy Coleman and Michael Stewart, Love Potion #9, by Jerry Leiber and Mike Stoller, Along Came Betty, by Benny Golson and Jon Hendricks. On one song, Til Now, Ron duets with vocalist Fabiana Passoni, whose delicate sound blends admirably with Ron’s edginess in a captivating duet. That toughness of Ron’s vocal sound brings depth and strength to this album and throughout he offers profound interpretations of the lyrics. Undoubtedly, this release places him in the front rank of male jazz singers around today.
For more on Andrea Claburn and Ron Boustead contact Holly Cooper at Mouthpiece Music.
These albums can be found at walk-in and on-line stores, including Amazon.
Jazz Journal’s Record of the Year Poll
Every year, around more than thirty contributors to Jazz Journal are invited to vote for ten favorite albums drawn from the 900+ reviewed in the magazine in the past twelve months, new releases and reissues being drawn upon at will. At the risk of sounding grumpy, I am not convinced that polls such as this are valid. Of course the opinions of the reviewers are interesting and informative and they often open ears to previously unheard artists, but the problem for me lies in the fact that every year there are reissues of outstanding material by the greatest names in jazz, among them albums that are cherished by collectors. How can I not vote for, say, Louis Armstrong’s Hot Five and Seven; or Count Basie and Lester Young’s Classic Sessions; or Charlie Parker’s Savoy Masters? So, as can be seen in the January 2017 issue of Jazz Journal, I have risked incurring Editor Mark Gilbert’s wrath and have chosen not to vote for any of these and other masterpieces that were reissued in 2016. Here, in alphabetical order, is my list for JJ of the year’s top ten albums:
Cyrille Aimée Let’s Get Lost (Mack Avenue 1097)
Harry Allen The Candy Men (Arbord 19450)
Alan Barnes One For Moll (Woodville 144)
Ray Bryant Alone With The Blues (ooooo)
Don Byas New York – Paris (Frémeaux 5622)
Bob Cooper Four Classic Albums (Avid Jazz 1180)
Sinne Eeg Eeg Fonnesbæk (Stunt STUCD 15082)
Thad Jones-Mel Lewis All My Yesterdays: The Debut 1966 Recordings At The Village Vanguard (Resonance 2023)
René Marie Sounds Of Red (Motéma 234231)
Sarah Vaughan Live At Rosy’s (Resonance 2017)
To see which albums attracted the votes of the other reviewers (from which emerged the Record of the Year), you can subscribe to the magazine via their website. The annual subscription for twelve issues including mailing will cost you no more than a cup of coffee a week – a whole lot less in some places – and is far more nourishing.
October 25, 2016
Alyssa Allgood Out Of The Blue (Jeru Jazz JJR-5-CD)
Among the many new young vocalists who happily label themselves as ‘jazz singers’ are just a few who truly deserve the title. Unquestionably, Alyssa Allgood is one of these few. Based in Chicago, she has gained acclaim locally and has also attracted attention further afield while studying, then working with mentors including Jay Clayton and Madeline Eastman, and taking part in the 2015 Shure Montreaux Jazz Voice Competition. Alyssa’s love of jazz is immediately apparent from her choice of material, which includes Wayne Shorter’s Speak No Evil, Hank Mobley’s Watch Me Walk Away (Dig Dis), Sam Rivers’ Beatrice, Joe Chambers Mirrors (all with lyrics by Alyssa), Only A Memory (Ceora) by Lee Morgan and Milton Suggs, Joe Henderson’s If, Horace Silver’s Peace, the Bobby Timmons-Jon Hendricks classic, Moanin’, as well as Noticing The Moment (Moment’s Notice) by John Coltrane, Peter Eldridge and Kim Nazarian. As the album title makes clear, the material and its originators are associated with the classic Blue Note label and that company’s ethos lies at the heart of Alyssa’s work. Indeed, all of the instrumentalists heard here are with the label today. These collaborators are saxophonist Chris Madsen, organist Dan Chase, guitarist Tim Fitzgerald, and drummer Matt Plaskota. All play with skill and the mutual empathy is apparent throughout, in ensemble, supporting the singer, as well as soloing with flair. The arrangements, by Alyssa and Dan, are crafted to allow ample space for inventive vocal and instrumental solos. Alyssa’s singing voice is light and true, she is rhythmically assured and has a clear understanding of the intentions of the originators of the music. As is apparent, most of this music began as instrumental pieces and in some instances Alyssa’s vocals follow the original solo lines. Vocalese is a difficult art, as is scat singing, but Alyssa displays her accomplishment in these areas. Not that these forms of jazz singing are overused; rather, they are blended into a wholly satisfying display of jazz singing. Contemporary in presentation, the blues are never far away; a comment that might also apply to Blue Note Records. Alyssa Allgood is a name to look out for and to remember.
Matthew Kaminski Live At Churchill Grounds (Chicken Coup CCP 7026)
Playing Hammond B3 organ, here Matthew Kaminski leads his quartet through a live date, recorded over two nights in Atlanta. Rounding out the quartet are Will Scruggs, tenor saxophone, Rod Harris Jr, guitar, and Chris Burroughs, drums, all of them playing with the spirit heard in Hammond-led groups of the past. Also featured here is vocalist Kimberly Gordon, who sings on If I Had You, I Love Being Here With You and So Danco Samba. Mixed in with the standards are pop songs, such as the Beach Boys’ Sail On Sailor, and jazz pieces, like Jimmy Smith’s Midnight Special, Duke Ellington’s Just Squeeze Me and It Shouldn’t Happen To A Dream, on both of which Kimberly sings, and Lou Donaldson’s Hot Dog. And then there’s the almost inevitable April In Paris, which started out as a popular song but gravitated into the world of the jazz organist by way of Wild Bill Davis (not forgetting Count Basie), here given a long workout by all five musicians. Throughout this album, the spotlight is mainly on Matthew and his solos are always interesting. So too are those by Will, playing with drive on the swingers and with sensitivity on ballads. A fine example of Rod’s playing comes on Jack McDuff’s A Real Goodun, which closes the album. A very entertaining occasion that swings from start to finish and leaves the listener wanting more. Speaking of which, this is Matthew’s third jazz release, the others being Swingin’ and Taking My Time. A footnote for those with a sporting inclination: Matthew has played organ for eight seasons at the home of the Atlanta Braves and has also released an album in this style.
Rebecca Dumaine Happy Madness (Summit DCD 687)
Singing with obvious delight in the material, here Rebecca Dumaine presents a selection that draws mainly upon the music of earlier times. Among the songs are standards but there a few from more recent times, all of them given a fresh outlook yet their treatment shows her respect. The songs include Jimmy Van Heusen and Johnny Burke’s Like Someone In Love, Harry Warren and Mack Gordon’s The More I See You, Marvin Fisher’s Destination Moon, Jerome Kern and Johnny Mercer’s I’m Old Fashioned, Joe Bushkin and Joe Devries’s Nobody Else But Me and Cole Porter’s It’s All Right With Me, while the album takes its title from the song by Antonio Carlo Jobim and Vinicius de Moraes (with Gene Lees’ lyrics). Providing admirable support for Rebecca is the Dave Miller Trio, a longtime association. With Dave on piano are Perry Thoorsill, bass, and Bill Belasco, drums (Dave is Rebecca’s father). The trio is augmented on some tracks by guitarist Brad Beauthe and saxophonist Pete Cornell. Relaxed and happy music that is collectively a very pleasing set that will appeal to those who enjoy hearing good songs sung and played well by straightahead jazz performers who clearly admire this music. For details of an earlier album by Rebecca, The Consequence Of You, see my post in late-May 2015.
Joshua Breakstone 88 (Capri 74144-2)
Tributes paid by a jazz artist to others are by no means unusual, but this set from guitarist Joshua Breakstone takes an intriguing approach. One original by Joshua apart, the music heard here is written by jazz pianists and the fact that there is no pianist in the group means that an alternate view is taken of the music. Thus, aspects that might, perhaps, have been unobserved by the many fans of the composers concerned are revealed. Among the composer-pianists featured by Joshua are Cedar Walton, Black, Tadd Dameron, If You Could See Me Now, Lennie Tristano, Lennie’s Pennies, and Mal Waldron, Soul Eyes. Joshua’s collaborators here, collectively named The Cello Quartet, are cellist Mike Richmond, bassist Lisle Atkinson, and drummer Andy Watson. Although Joshua is the principal soloist, all make an important contribution and this is very much a collaborative venture. It is worth noting Joshua’s comment regarding the reason why he has chosen to perform pieces composed for (and at) the piano: “It’s merely the expression of one guitarist’s love and admiration for the instrument and those who happen to play the hell out of it and use it as a vehicle for composition.” Altogether, this a rewarding and entertaining album that will appeal to many.
Mili Bermejo & Dan Greenspan Arte del Duo (Ediciones Pentagrama APCD 707)
The music performed by this duo has an appealing freshness, which is, perhaps, surprising as singer Mili Bermejo and bassist Dan Greenspan have worked together for a quarter century. Mili’s early years saw her move from Buenos Aires to Mexico City to Boston, where she has taught at Berklee College of Music since 1984; Dan started out in New Haven before moving to Boston where he became an in-demand session musician and more recently the couple have settled in New Hampshire. The music heard here ranges widely both stylistically and geographically with a handful of originals by Mili as well as songs by composers from Mexico, Armenia, Argentina, Uruguay and France. Melodically and rhythmically rich, this music is sung and played with emotional intensity and considerable technical expertise and will have widespread appeal.
Al Strong Love Strong Volume 1 (independent)
On his debut album, trumpeter Al Strong displays his technical skill and also his awareness of the paths taken by jazz in recent years. Although a relatively new name on the contemporary jazz scene, he plays with mature confidence. Most of the music played here has been composed by Al and there is an emotional depth to the music, a quality not always present nowadays. There are also some well known themes, including Kenny Barron’s Voyage, Thelonious Monk’s Blue Monk and Rodgers and Hammerstein’s My Favorite Things. Joining Al here are several musicians, some of whom also take solos, forming groups of different sizes. Among them are saxophonists Bluford Thompson and James ‘Saxmo’ Gates, keyboard players Ryan Hanseler and Lovell Bradford, and drummers Jeremy ‘Bean’ Clemons and Iahji Hampden. Contemporary jazz, played with sensitivity and always displaying an awareness of what has gone before.
Richard Sussman The Evolution Suite (Zoho ZM 201614)
For more on Alyssa Allgood, Matthew Kaminski, and Rebecca Dumaine contact Holly Cooper at Mouthpiece Music; for Mili Bermejo & Dan Greenspan and Joshua Breakstone contact Braithwaite & Katz ([email protected]); and for Al Strong and Richard Sussman go to Jim Eigo’s Jazz Promo Services site.
Albums by these artists are available at the usual outlets, including Amazon.
June 30, 2016
Easy to forget, but not many years ago the term ‛jazz singer’ meant something very different from what it means today. Back then, such artists were admired by few, derided or dismissed by many. Many of these nay-sayers were not members of the general public (who were not the least bit interested), but people in or closely connected to the jazz world: instrumentalists, journalists, promoters, fans. Even some songwriters expressed outrage at the way jazz singers sang their songs. Yes; even the insiders didn’t like singers and what’s more, they didn’t care who knew it. A look at some of the early books on the history of jazz will quickly demonstrate that this is no exaggeration. Chapter upon chapter about instrumentalists, only a few paragraphs on singers.
As any singer will tell you there are still people in today’s jazz world who cling to those outdated (and unfair and unreasonable) ideas, but overall things are very different. Jazz singers of today can be numbered, quite literally, in thousands. Among the reasons for today’s picture is a matter of terminology. Quite simply, the definition of the term ‛jazz singer’ has been radically altered. In the past, the term’s definition was so narrow it is hard to stretch a list of those who fit the bill into double figures. During the past few years the term ‛jazz singer’ has been sanitized and artists so labelled have become admired, lauded even, and can sell millions of records. Among the results of this is that while artists of the past might have shied away from being labelled as a jazz singer, today many eager wannabes adopt the label regardless of their qualifications.
Looking behind the label, what is the reality? I suspect that if those few accepted jazz singers from long ago were brought back, the chances are they would not recognize many of these new singers as kindred artists and those newcomers they did recognize would be counted in similarly small numbers to those of far-off days. What they would recognize, those past mistresses of jazz song (then, as now, women greatly outnumber men), is that they themselves were seriously influential on the careers of the newcomers either directly or channeled through singers of the in-between generations.
It is not at all surprising that the term ‛jazz singer’ means something different today. After all, the same can be said of jazz itself. During the second half of its 100-year history the word jazz has stretched to cover an enormous range, one so wide that surely no one can like everything. Consider that range for a moment: Early jazz with its primitive style and technique yet shot through with the flawless musical jewels heard on the first records made by Louis Armstrong that remain as vivid today as they were ninety years ago; the swing era, when jazz first became commercial; the revolution of bebop; and then there is west coast cool, hard bop, mainstream, jazz-rock and other fusions, all the way through to today’s cutting edge improvised music. And then there are those many wonderful side turnings into the realms of gospel and soul and r&b. As for the blues, well that’s more than merely a side turning, it’s a highway. And in all of these roots and branches of jazz there have been and still are singers who are as stylistically different from one another as are the instrumentalists. Significantly though, many of today’s singers have succeeded in doing something achieved by only a handful of jazz musicians (singers and instrumentalists) of the past. They are commercial. And just as commercial success during the swing era was frowned upon by purists, popularity today is viewed with suspicion if not downright hostility. It shouldn’t be this way. Popularity might not be a condition of quality but the two are not mutually exclusive. To steal a comment from Duke Ellington: “There are two kinds of music. Good and bad.”
These thoughts started with a question: What is a jazz singer? If that is what drew you in then it might irritate you if this piece ends without attempting an answer. That said, as should be clear by now, there will not be a categorical answer. Readers of the two books written many years ago by myself and Mike Pinfold are unlikely to have learned a hard and fast definition. In one of these books, The Jazz Singers: from Ragtime to the New Wave (1986), we sought to recount the history of the form, while in the other, Singing Jazz: the Singers and Their Styles (1997), we looked at the subject through the lives and careers and words of several singers. Definitions were not an objective, but reading them might cast a little light and maybe open a few doors. Although long out of print, second-hand copies can be found in dusty corners of cyberspace, while the most recent of these titles can now be bought as a Kindle e-book.
Through the vast resource of the Internet it is possible to see and hear musicians perform and get to know them through interviews or simply read the thoughts and opinions of others. Among many on-line sources, two excellent sites that have much to offer on jazz singers are those of Marc Meyers and Anton Garcia Fernandez. Marc writes for The Wall Street Journal and his countless interviews and essays can be seen on his JazzWax. Anton teaches Spanish at the University of Tennessee in Martin and his musical interests are pursued on two sites: Vintage Bandstand and Jazz Flashes. Both of these writers deal extensively and knowledgeably with singers and it is possible to learn a lot from their work.
But will you learn what it is that makes a jazz singer? Perhaps an answer is impossible. Enough of this prevarication. For me, a jazz singer is one who can improvise upon yet remain respectful of a composer’s conception, can reach into the heart of a lyricist’s message and convey this to a listener, can perform with rhythmical assurance, sings in tune, sings a song with honesty and integrity, who brings originality to the music, and, perhaps, leaves something of themselves therein. Any singer who does all (or most) of these things might well earn a place alongside those few unquestioned jazz singers of the past.
If you want to hear singers like this, where might you start? Well, here are a few names to start you off, but these are offered with some trepidation because five minutes after this list is done and up for all to see, other names will be remembered. Also, in listing jazz singers of today who sit comfortably in my reckoning with those giants of the past I am guilty of omitting a few of earlier generations still working admirably today. So, with these caveats in mind here they are, among them some reviewed either in Jazz Journal or elsewhere on this site. Listening to their work will delight and enlighten you: Tony Adamo, Karrin Allyson, April Barrows, Theo Bleckmann, Dee Dee Bridgewater, Leanne Carroll, Dena DeRose, Madeleine Eastman, Sinne Eeg, Connie Evingson, Roberta Gambarini, Allan Harris, Ellen Johnson, Nancy Kelly, Stacey Kent, Chris McNulty, Kitty Margolis, René Marie, Claire Martin, Tina May, Catherine Russell, Cécile McLorin Salvant, Ian Shaw, Daryl Sherman, Judi Silvano, Carol Sloane, Clare Teal, Roseanne Vitro, Cassandra Wilson.
Albums by all of these artists can be found at Amazon.
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 –