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| Updated: 11/11/09 | © 1999 - 2009 Cool Bunny Media | Da Cool Bunny sez 'Spank that Plank, Baby!' | |
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9Muses
- Feel To Heal
9Muses are a new band to me, and somewhat of an enigmatic one as the CD sleeve doesn't list any names other than a guest musician [responsible for the drums and percussion on several of the ten tracks]. In terms of music Feel To Heal seems to be chilled out electronica with a female vocalist - the sound falling somewhere between a pared back Pet Shop Boys [but of the female gender], and the lushly baroque electronica of Enigma. The ten tracks are very easy on the ear with the woman vocalist well mixed to the front of the sound. It actually helps in that she can really sing. The lyrics are a bit new age-ish, but less erotic than that of Enigma - more romantic if anything. The atmosphere of the album is, as I said, rather chilled out, with the vocalist sounding rather aloof from what she is singing about. It's a very accessible album, at home in or out of a club's chill-out room. Feel To Heal is apparently the first of a series about the elements, and I think that the vocalist is the first of nine muses to feature on these albums. It all sounds very mysterious and yes, enigmatic. On the other hand, Feel To Heal is a wonderfully listenable and approachable album that with some decent radio exposure could find a responsive audience. For more information about this artist and album and availability visit: www.9musesnow.com (Ruby Slippers Productions 1012) It seems to me that jazz has never been so popular or thriving as in recent years. Certainly at least 50%+ of the CDs received here for review are some type of jazz - and so it is here with Lisa Hilton's new album, Twilight & Blues. Set in the small group format, mixing jazz originals with some jazz and pop/rock classics, this is an intimate album, think small jazz club, tiny cubicles and smokey candles adding to the ambience. So, with Ms Hilton on piano, the rest of the band consists of Larry Grenadier on bass, Lewis Nash on drums, Jeremy Pelt on trumpet and JD Allen on tenor sax. The album open with Ms Hilton's own composition, Pandemonium, a very tidy swing number that is an excellent calling card for the rest of the album. Followed by a version of Joni Mitchell's Woodstock that is radically different to the original. Likewise with Marvin Gaye's What's Going On [extended take - the album ends with an edited rerun of this track]- she turns this inside out, making it a slinkier jazz piece where the brass section can showcase their ample talents. I rather liked another of Ms Hilton's own pieces, City Streets, which as the title suggests is a musical snapshot of life in the city. The remaining of the ten tracks are: Turbulent Blue, Twilight, Janis Joplins' Kosmic Blues, Ms Hilton's own Blue For You, and finally, Henry Mancini's Moon River. I like jazz but am no expert, but I found Twilight & Blue to be easy on the ear jazz, with some substance and great musicianship from all involved. I think this album could appeal to those who are ambivalent about jazz, and should certainly find favour from the real jazz fans as well. Recommended. For more information about this artist and album and availability visit: www.lisahiltonmusic.com (CGM 1004) As luck would have it I am playing this album deep in the middle of October, and its opening track, First Light, could certainly be a musical depiction of the grey half-light we are enjoying here in the afternoon. Pianist Matthew Labarge has created what could be considered an instrumental concept album about one of the most unpopular months of the year. Unpopular because it is the gateway to a long winter, after the bright months of summer. Track Two, Sunrise, is marginally more uptempo and optimistic, but let's face it, compared to May, October is a negative month through and through and it is very difficult to make it a musically uplifting experience. Having said that, Mr Labarge writes some very pretty piano tunes which are restful and pleasant on the ear. Eschewing jazz influences, I think the music fits more into the programmed classical genre, but harkening back to the days when classical music was all about melody and not dissonance - Leaves Dancing is a showcase for this musicality. To be fair Mr Labarge's view of October is different to mine, and the album musically depicts an autumn wedding, along with kids playing, the colours of the leaves, and of course the early sunset and the waiting for November and winter. I don't mean to sound negative about this album, it is the subject matter which depresses me - this is a wonderfully played and recorded album, and the music is intimate and melodious. October deserves to be heard by a widespread audience, anyone who derives visual pleasure from instrumental music should have a feast of lush footage going on in their head while listening to this album! For more information about this artist and album and availability visit: www.matthewlabarge.com Arpatle
- Continuum
Continuum is an album of ambient music that is actually worthy of the name. Utilising synth loops, samples, drones and lots of atmospherics, the album insinuates itself in your mind, play after play. It is ambient in the same way Brian Eno's ground breaking albums of the 70s were - you can either lavish attention and listen with full focus to it or you can just put it on in the background while working and its tendrils of magic will slowly seep into your brain surreptitiously. The CD contains eight tracks of varying lengths, all steeped in limpid dreaminess this is not an album to rock out to! Track titles are as enigmatic as you would expect: Carnival, Being Safe, Seventeen Sixteen, No I Can't Imagine, Beryllium, Bread, Hisna, and Fogmen. My preview CD was missing a video clip of No, I Cant Imagine, which is on the limited edition CD version of the album and is available to view on the link listed below. Arpatle is the alias of musician/composer Patrick Bossink, who is based in the Netherlands, but I'm not sure that locality has any influence on this music, it certainly doesn't resonate with images of canals and windmills and tulips. The music on this album is international and could have come from anywhere in the world, and is to be listened to anywhere in the world. I would like to think that this music will be picked up by those DJs and radio stations that play chill out music, as Continuum is really a very fine album deserving of a large audience. For more information about this artist and to download or order the CD version of the album visit: https://www.beatport.com/en-US/html/content/release/detail/ 175080/Continuum or visit the artists own website here: http://arpatle.patsmuziek.nl In addition, the album also contains a video clip, which you can watch here: http://www.youtube.com/watch?v= TO4qNA_bpVI&feature=player_embedded Arpatle
- Gravity Rejection To follow up his debut album Continuum Dutch ambient electronica musician Arpatle has now released a download only EP of four new tracks. It's called Gravity Rejection and it continues in a similar vein to his album - that is, slow beats, sfx sounds, a dreamy ambience, vocal drones and a dusting of that magic stuff that makes it a cut above the average. The four tracks are Electron Walk, Ivor, Mama The Dog and Retrograde Synchronicity. In many ways this is music for embedding in the background of your personal environment - not for dancing or raving to, but perhaps to create an aural wall around you when working or studying or even simply chilling out after a stressful day. A 5.1 surround sound mix for playing on home cinema kit would be an interesting experience, I think. This sort of ambient music is always a personal choice, you either get it or you don't - it is almost a bespoke music that is very personal to the listener. I find that it has echoes of a British musician ploughing a similar style of music called The Glimmer Room, who is another favourite of mine. Mind you, the final track, Retrograde Synchronicity has something of the early Air about it, and that is a very good thing as far as I'm concerned. Gravity Rejection is only available as a digital download on Beatport: https://www.beatport.com/en-US/html/content/release /detail/183354/Gravity%20Rejection For more information about this artist, EP and availability visit: http://arpatle.patsmuziek.nl David
Widelock Trio - Skating On The Sidewalk The jazz trio format is a potent musical force and a surprisingly versatile one where the lead instrument can be virtually anything at all. In the instance of the David Widelock Trio it is a guitar with drums and bass backing, and in David Widelock one finds a downright funky and bluesy guitarist performing selection of his own compositions alongside covers of Leadbelly's Black Betty and Tom Waits' Sixteen Shells Fom a 30-06. The album begins with Chitchat, a loose, uptempo opener which illustrates Mr Widelock's rootsier side and introduces the versatility of bassist Fred Randolph and drummer Jim Kassis. A Colourful Dream Underwater is a more restrained, melodic affair, featuring some mellifluous picking by Mr Widelock on acoustic guitar. The already mentioned Tom Waits track is a lightly swinging blues number that floats nimbly between the loudspeakers. The title track certainly showcases Fred Randolph's electric fretless bass with its skipping and hesitant rhythms. I have to admit to liking this album from the first few chords - it has a lyrical and rhythmical playfulness that is very appealing. Altogether, the eleven tracks on Skating On The Sidewalk make for a very accessible album of original jazz that should attract and appeal to those music listeners who find most modern jazz too remote and abstract. I think Skating On The Sidewalk would also find favour with those who like their music funky and flavoursome. For more information about this artist and album and availability contact: widelock@earthlink.com Matt Finley
- Brazilian Wish I've always enjoyed jazz with a Latin lilt, whether from the Caribbean region, Central America and South America itself. Well, it appears trumpeter and flugelhorn player Matt Finley shares that interest and has composed an albums' worth of instrumental tunes based on his deep affection for the rhythms and melodies of Brazil. Brazilian Wish opens with the funky and party vibes of Father's Day, a track that should hook in even the most disinterested of listeners, and this is followed by the smoother and more sultry album title track. I could pick out virtually every other track for mention, but simply put, there are no substandard tracks on this album, every one is different and a winner to my ears. Matt Finley is a lyrical horn player, rather than one of those who just blasts out as loud as possible and takes no prisoners... his horn sound is well modulated and richly rewarding. This is a quality album backed by a superb group of musicians who add a lot to the overall sound, as you would expect. I'm reminded a little of Shorty Rogers and his smooth west coast style of jazz, but obviously with that extra bit of Latin added to the mixture. I think there is also a dash of classic era Crusaders in there too. Overall, Brazilian Wish is an excellent album, deceptively easy on the ear but with expressive depths to explore. Highly Recommended - even for non-jazz lovers! For more information about this artist and album and availability visit: www.mattfinley.com Donald Malloy is a trumpeter who is an Afro-American and uses his debut album, Spirituality, to explore the roots of his African Yoruba tribe ancestry and jazz. That's a pretty big remit, all things considered, and I have to say that this album is sadly more a straightforward jazz album in the Mile Davis vein, early 60's era. Being a big African music fan I couldn't really discern any African musical influences or instruments other than the use of African words in some of the ten track titles. To me the album would have been more interesting with a few African jazz musicians added to the mix. I think Afro-American musicians see Africa as an 'ideal' state of mind, ignoring the realities of the continent and its problems - a little intermixing with its musicians would open their eyes. That aside what you do have is a lively album of bebop-style tracks of very cool jazz indeed. The varying line up of six to eight musicians play their hearts out, and vocalist Barbara Barrett wordless singing on Oshun and Oba are very pretty. Mr Malloy's trumpet playing has power and warmth and there are brief instances where perhaps the African plains are distantly achieved, especially where Seth Johnson's guitar is involved. So while I may question the album's philosophy a little, musically this is a good jazz album and should be sought out by trumpet fans. For more information about this artist and album and availability visit: www.karigaffney.com Tone Bent
- Say What You Will Tone Bent are a duo consisting of Bill Horvitz on guitars and banjo, and Robin Eschner on guitar, with both on lead vocals and harmonies. Say What You Will is a collection of their songs: slightly bluesy, slightly folksy and with a dash of country. Over here that would be called Alt. Country - the harmonies and vocals are reminiscent of the Handsome Family, but the lyrics and tunes aren't so gothic. There's a lot of excellent finger picking with the guitars, which should appeal to the acoustic music crowd. But I have to say that the pace of the songs seemed to me a little samey all the way through, with little change in dynamics, though there is a bit of that back porch atmosphere on many of the acoustic tracks. However, this isn't a genre of music that I like much and I found there to be too little variety in the pace of the music for my tastes. Having said that, I can see Tone Bent appealing to the aficionados of acoustic American music, so do check out their website and sample their music before buying. For more information about this artist and album and availability visit: www.tonebent.com Brenda Earle -
Songs For A New Day This is the fifth album by Canadian pianist/vocalist/composer Brenda Earle, and it contains eleven tracks of jazz songs - some by Ms Earle and the rest by a variety of pop and jazz writers. Along with singing and playing jazz Ms Earle also performs in the classical music field, so literally a very 'classy' lady! Ms Earle shows a fine command of her piano and Fender Rhodes, taking some restrained but very intense solos. Backed by a bass/guitar/drum jazz trio [Ike Sturm, Jesse Lewis and Jared Schonig respectively] on all the tracks, plus individual instances of cello and saxophone on a couple of tracks, this album is something of a chamber piece, with most songs slow to medium pace to highlight the musicianship on this CD. As we Brits would say, Ms Earle can certainly tickle the ivories... Some of the songs on this album include Cole Porter's You'd Be So Nice To Come Home To, Hammerstein and Kern's Nobody Else But Me, and Neil Finn [of Crowded House] Don't Dream It's Over. Ms Earle's own songs, Standing, A Few Lines, The Waltz and Songs For A New Day, all show class and aren't outgunned by the standards, plus the Latin vibe of Valio La Pena and So I Say (Sal Dessa) add some exotic flavour to what is a very accomplished album. I think if you like the work of Diana Kroll and Norah Jones then you may find Songs For A New Day to your tastes. Go to Ms Earle's website and sample a track or two. For more information about this artist and album and availability visit: www.brendaearle.com Curt Ramm | Dan Moretti
| Bill Cunliffe - Foundations This CD features a trio of long-respected and hard working jazz musicians who have pooled their talents to make Foundations. The album is a collection of eleven hard bop and soul jazz tracks - imagine a cross between The Crusaders and Miles Davis and Dizzy Gillespie at their most successful periods. The album opens with a hard blowing Little Bit, a track which how Curt Ramm on trumpet, Dan Moretti on saxes and Bill Cunliffe on keyboards work seamlessly together. Backed up by Marty Ballou on bass and Marty Richards on drums, this quintet kick up quite a funky storm [check out K-Funk and Zone Seven to hear what I mean], with plenty of solo opportunities for everyone to shine in their turn. But having said that the communal playing is superb too. All the music on Foundations is original, penned by either Dan Moretti or Curt Ramm and Bill Cunliffe. Unlike much 'modern' jazz, the music on this album is stuffed full of great tunes and riffs and oozes that confidence that lifts an ordinary jazz album into something a cut above ordinary. It takes time to become a classic album but Foundations may have that wow factor to win over the dedicated jazz fan. I for one would certainly like to hear more from this combination of musicians, they make great music. For more information about this artist and album and availability visit: www.foundationsjazz.com | Anna
Estrada - Obsesión
For more information about this artist and album and availability visit Amazon.com, Cdbaby.com and possibly iTunes.com Wayne
Wallace Latin Jazz Quintet - ¡Bien Bien!
For more information about this artist and album and availability visit: www.patoisrecords.com Fra
Fra Sound - Dya So
For more information about this artist and album and availability visit: www.frafrasound.com Frank Potenza Trio
- Old New Borrowed & Blue
For more information about this artist and album and availability visit: www.caprirecords.com Acoustic Ocean - Light Returning
For more information about this artist and album and availability visit: www.acousticoceanmusic.com Nicki Gonzalez
- Moron Love The confessional woman rock singer isn't a new concept, but it always seems to work well, with the artists hanging out their dirty linen for all to see, without the usual bluster you get from male songwriters. And so it is with Nicki Gonzalez. She has the husky vocal delivery of Sheryl Crow, but with the blues-rock ballsiness of Bonnie Raitt and Pat Benatar. Moron Love opens with You Love Her, an almost punk-thrash workout of anger issues. And Leave is a real old-style rocker with hooks worthy of Nick Lowe during his new wave period. The rest of the songs have a depth and emotion to them that you won't find in the output of most manufactured pop chicks. In other words the lady has a fine set of pipes and uses them on these nine self-composed songs in many impressive ways. I've not heard of Ms Gonzalez before but she has obviously lived the life and paid the dues to come up with songs this strong and a delivery this hard. It's interesting to note that the album is mixed by Mitch Easter, a man renowned for creating the REM sound - he also plays guitars and Hammond organ on some of the tracks - and was recorded in Raleigh, North Carolina, REM's home turf. There's obviously something in the water there! Moron Love may be Ms Gonzalez's debut album but I think it is the just the first chapter of a work in progress, with many more delights to come in the future. Highly recommended. For more information about this artist and album and availability visit: www.karigaffney.com
For more information about this artist and album and availability visit: www.katwalker.com Joe Beck &
Laura Theodore - Golden Earrings
For more information about this artist and album and availability visit: www.whalingcitysound.com Jazz flourished and expanded out of many cities in America during its 'birth', Houston, Texas, being one of them. The tradition continues today and Larry Slezak is one of Houston's premier saxophonists. After working in many bands he has finally made the jump to being bandleader himself and recorded his debut album, No Worries. Working essentially as a five piece band, but with extra musicians and a string section added on certain tracks, No Worries is a muscular type of album, honking sax to the fore - you can almost smell the club ambience and cigarette smoke oozing from each track. The main musicians are Clayton Dyess on guitar, Thomas Helton on bass, Jose-Miguel Yamal on piano and a very funky Hammond B3, Joe Slezak on drums, with Larry Slezak playing tenor and soprano sax. The twelve tracks are a mixture of classics like How About You, Girl Talk, Wee Small Hours, Cry Me A River [both with engaging vocals by Sheri Lavo], Secret Love and the self-composed No Worries, which bounces along like a sleek panther. There's something very 'old school' about this album, and that is both its vibe and the sense of musical fun being had by the musicians and the listeners of the CD. No Worries is an album that follows its own advice and just offers some good old fashioned jazz virtues of melody and virtuosity and a good time. I half expect Sinatra to pop in on some of the ballads to sing a verse or two. Definitely one of the best jazz albums I've heard this year. For more information about this artist and album and availability visit: www.tierrastudios.com
For more information about this artist and album and availability visit: www.mikearroyojazz.com Craig Buhler
- Skykomish There's been a trend recently of jazz albums [arriving at this website] covering pop music classics and drilling down for some new nuggets of meaning in radio friendly tunes. Craig Buhler's new album Skykomish is the latest of these, taking a couple of excellent self-penned instrumentals, Roll Over Redmond and Skykomish Shuffle, and then adding a new sheen of brilliance to pop, movie and show tunes such as What A Fool Believes, Eleanor Rigby, Creepin', Oh Happy Day, Save The Best For Last and Flash Dance amongst the dozen tracks on this album. Craig Buhler is a reeds player [sax and clarinet], and can certainly play a very fruity sounding sax as on Roll Over Redmond. Leading an octet of experienced musicians, this album has a very full sound, bright and punchy, it swings hard at times but pulls back on the throttle for the mellow ballads. The material on this album is reminiscent of what the BBC Big Band plays on their radio shows [that is a compliment, by the way] here in the UK - and this is one very easy on the ear album that should appeal to even non jazz fans. But it should appeal even more to all jazz aficionados who enjoy a blasting band and a great tune. And finally, the good humour coming out of the loudspeakers will lift the saddest of spirits, and for that reason this is a highly recommended album. Buy it, you won't regret it. For more information about this artist and album and availability visit: www.craigbuhler.com Bethany
Smith Staelens - The Big Bang Theory
For more information about this artist and album and availability visit: www.smith-staelens.com Mia Vermillion - Alone Together With The Blues There aren't as many women singing the blues nowadays as one would think, but you can add Mia Vermillion to that list with confidence. Alone Together With The Blues is Ms Vermillion's debut album, and one hopes the first of many to come. There are, of course, many types of blues and as Ms Vermillion has an almost soprano-like voice you aren't going to get husky-voiced gut-bucket blues. The songs and performances are much more sophisticated than that - urban blues with acoustic, rather than electric settings. Mia Vermillion's voice is sassy and strong-willed on many of the songs, and it sounds like she is inhabiting the characters she is singing about. The mainstay of the musicians and collaborator on the album is guitar, dobro and mandolin master Orville Johnson, who creates some suitably rustic and even gothic settings for her voice to soar over. Along with two self penned songs [Little Bit Of Love and Love's Lost And Found], the other seven tracks are covers of blues classics: In The Dark, In The Evening, When I've Been Drinking, I'm Going To Copyright Your Kisses, I Wonder, Walkin', Two Cigarettes In The Dark. Overall, these tracks showcase a restrained and back porch style of urban blues, very different to the usual styles you hear. This is much more worldly-wise than the usual bar room blues you hear, and it deserves to catch the ears of blues devotees. For more information about this artist and album and availability visit: www.miavermillion.com Lara MacMillan
- Miss Mercury It is rather refreshing to find a new pop/rock woman singer who isn't trying to channel Kate Bush, Bjork or Joni Mitchell, so welcome to Canadian Lara MacMillan and her debut album, Miss Mercury. The eleven tracks incorporate many styles of pop, all with an original twist that puts Ms MacMillan's marker on them. The title track is a nice little muscular rocker with a touch of acerbity, as is By My Side. Along with her piano, the songs are either backed by the tradition guitar, bass and drums of a rock band or the more chamber settings of violin, cello and double bass. There are times when you think you have Ms MacMillan pegged as a songwriter in the 'bedsit' realms of 70's James Taylor and Carol King, but then a buzzy electric guitar kicks in and lifts the song into a rocker with some belt to it. It certainly makes for an interesting album which surprises more often than not, and her songs have a mercurial personality to them, reflecting the many moods of the writer. In today's marketplace I would say that Lara MacMillan's music stands more with that of PJ Harvey than, say, Dido. Miss Mercury is well titled, it certainly has a variety of moods going on throughout the eleven songs, and is well worth searching out for at Amazon, iTunes or CDbaby. For more information about this artist and album and availability visit: www.karigaffney.com Silveroot -
Big Difference Silveroot fall into that musical category of acoustic roots music that straddles bluegrass, traditional country and the more modern alt.country that tends to reflect modern American rural concerns today. Big Difference is Silveroot's second album, I think, and continues in the same vein, featuring multi-instrumentalist Patrick Flynn's song writing. The album begins with the album title track, a lengthy slow to mid pace plea for tolerance and understanding. I rather liked the jaunty Takin' The Fall, with its faster pace, likewise with Home Cookin'. The band consist of Darryl Webb and Patrick Flynn on a multitude of acoustic instruments and vocals, Emily Palen and Mardell Mardeux on violin and vocals. Thanks to multi-tracking, the two main musicians create a very full sound with their guitars, banjos, accordions and other instruments. While I admire the craftsmanship of the songs and the musicianship on show here I find the resolute mid-pace of most of the songs a bit 'samey', a couple of hoe-down instrumentals would have perked up the pace nicely and added some spice and variety - though Last Night In Marrakech includes some eastern flavour to the mix. I think this a band that probably works and sounds better in a bar environment with a lively audience urging them on. But, as always, this is just my opinion, anyone interested in Silveroot should visit the website listed below and sample the tracks there and buy if you like what you hear. For more information about this artist and album and availability visit: www.silveradomusic.com |
If
there is one type of music that is most likely to cheer me up on a
typically wet and dank British autumn day it is some uptempo Latin
American music. And boy, Anna Estreda's new album, Obsesión,
brought smiles from the opening track La Mentira. Of course,
there so many styles of Latin music, its diaspora being South America,
the Caribbean and parts of North America that I lose track of all
the component styles, but if you like any music that has that overall
'latin' feel then you are going to enjoy Obsesión. A
lot. Anna Estrada has a wonderfully exotic and sensual voice, just
listen to Nature Boy and prepare to melt into her caress! It
is certainly a damn sight more sexy than Nat King Cole's version back
in the 50s. Setting the alluring Ms Estrada's voice aside for a moment,
one must also focus on the arrangements and the wonderful band supporting
her. The arranger and co-producer is Ray Scott and you will be impressed
as I when you hear this album - the music is performed wonderfully
by a tight and swinging band wrapping itself around her mellifluous
voice, while the music charts fit Ms Estrada like a glove. This is
one of those albums where you find yourself inching towards the loudspeakers
until you are sitting right in front of them, trying to catch every
detail in the recording process. I guess you could describe Obsesión
as a very intimate album - one you will return to and savour again
and again. I certainly shall. This is a no brainer - it is definitely
one of my albums of 2009.
From
the recent additions to my in-tray it seems that Latin jazz is a very
popular musical form - which is fine for me as I find Latin music
a great winter warmer this time of the year. ¡Bien Bien!
is the latest album by trombonist Wayne Wallace and his quintet, but
there are four extra guest musicians on some of these tracks which
beef up the sound very nicely. I think it's fair to say that Cuba
and its various forms of music act as the basis for this album, so
very much a Buena Vista Social Club vibe going on on many tracks,
such as ¡Bien Bien! and Freedom Jazz Dance. While
Wayne Wallace has written three of the tracks [the title track, Mojito
Cafe, Playa Negra], other composers included on the album are
Eddie Harris [Freedom Jazz Dance], Duke Ellington [In A Sentimental
Mood, Going Up], Sonny Rollins [Solid] and John Coltrane
[Africa]. Not originators of Latin American music of course,
but their compositions translate to the Latin styles very well. Compared
to the other latin albums reviewed recently ¡Bien Bien!
is much more of a jazz vehicle, but many of these tracks should get
the dedicated Latino up on their feet and dancing, and overall the
feel of the album is very uptempo and fun. Wayne Wallace is also very
impressive on the trombone, offering some lovely fat and fruity sounds
and leading from the front. I really enjoyed this album, it has a
big warm heart full of Latin sauce that should retain its flavour
for a long time to come.
If
there is one thing that Fra Fra Sound remind me of most strikingly
is the breakthrough afro-Caribbean band Osibisa, who were the first
band to mix African and Latin American and Caribbean rhythms with
rock music back in the early seventies. Well, Fra Fra Sound may be
a bit laid back on the rock part and favour jazz in the mix, but their
new album Dya So [which means Right Here] is as strikingly
original and infectiously joyous as the music of Osibisa was all those
years ago. On reading the sleevenotes I'm surprised to find out that
Fra Fra Sound have been going for nearly three decades, so perhaps
Osibisa were an influence. They are based in the Netherlands and their
main influence is the music of Surinam, a country I've barely heard
of. They live and work some distance away from the sources of their
music, but then western Europe has become quite a focal point for
the musicians who record what we call 'world music' these days. So,
onto Dya So, the album has nine tracks, bursting into vibrant
life on Along The Crossroad, mixed with street sounds for added
reality. Dya So is a very upbeat album, the music there for
dancing [if you have frisky feet!]. Considering there are only seven
musicians involved they make a huge sound at times on this CD, especially
the two-man brass section. I should by rights be selecting a few more
tracks for individual mention, but to be honest the entire album is
great and I really don't want to spoil your first experience of the
Fra Fra Sound. So, check this band out on iTunes, Amazon or whatever
your music source is and buy the album - it will be THE winter warmer
in your home for the coming cold season.
The
trio format in jazz is as old as the hills, but I'm not sure I've
come across a guitar, Hammond organ and drums trio before, though
here it is augmented by a flautist on many tracks. So we have the
Frank Potenza Trio, with Mr Potenza on guitar, Joe Bagg on the organ,
Steve Barnes on drums and Holly Hofmann on flutes. And it is quite
an exciting sound to be sure - the opening track, Ready And Able,
opens with lots of vim and vigour, setting out this quartet of musicians'
stall with alacrity and much punch. Along with one self penned number
the trio showcase quite a number of covers: Ode To Billie Joe,
I'm Walkin', Party Time, Road Song, I Wanna Be Loved, and You've
Got A Friend. All performed with lashes of good humour and party
energy. There's enough space on these tracks for all the musicians
to shine in the solos, indeed, at times I almost assumed that the
organ and flute were the lead instrument, but Mr Potenza's fluid and
effortless guitar always picks up the lead again. Not surprising considering
he was a protégé of legendary jazz guitarist Joe Pass.
Oh, and he also has fine singing voice to compliment that picking,
check out his version of Fats Domino's I'm Walkin'. Old
New Borrowed & Blue is a fine album that will appeal to jazz
buffs but should also appeal to those not yet converted to the cause.
It is a 'good times' album, stuffed full of good funky vibes [there's
a bit of Booker T and the MGs in there!] and a great atmosphere -
I can only imagine how much fun the musicians had recording it.
Acoustic
Ocean is the duo of Peggy Moran and Bette Phelan, playing an assortment
of acoustic instruments, voices and samples of natural sounds such
as waves and bird song. This is 'New Age' music and isn't ashamed
to be intended for relaxation and massage. Light Returning
contains eight lengthy tracks of dreamy instrumentals with wordless
vocals, creating moods and focal points for meditation. The track
titles are suitably evocative: Refuge From The Storm, We Are The
Ones, Ancient Forest, Always In My Heart, Prayer For Peace, Stillness
At The Centre, Innocence Recalled, and, of course, Light Returning.
The Celtic harp is one of the main instruments, and that of course
adds a certain traditional folk music element to the overall sound,
making one long for a rustic Irish pub and a pint of the dark stuff
while listening to the music. Ultimately, Light Returning is
a thoroughly pleasant album that does exactly what it says on the
back cover. Some may find the music a bit twee and bland, but I found
it soothing and ideal for meditation [i.e. sleeping], which is one
of its aims, I believe. For the more technically advanced, you may
be interested to know that Light Returning was recorded using
the binaural 3D recording system, which offers enhanced listening
via headphones. This seems a thoroughly likeable album which works
on many levels and has been on the player quite a bit here, which
is about as good as it gets.
As
you would imagine from the album title vocalist Kat Walker's new album
is a fun album of jazz classics in the New Orleans style. From the
opening bars of It Don't Mean A Thing (If It Ain't Got That Swing)
you know you are in for a fun time. Kat Walker is a husky voiced enchantress
luring you into that smoke-filled club where a hot band is giving
a dance vibe. Track two, Cry Me River, is played at a much
faster tempo than usual and works well in this different form. The
quartet supporting Ms Walker are very good indeed, and kudos go to
Bart Ramsey on piano, Dominick Grillo on sax, Spike Perkins on bass
and Dennis O'Toole on drums for creating jazz heaven. The fourteen
tracks on this CD are a good start in anyone's guide to the classic
jazz songbook: My Favourite Things, Fever, The Lady Is A Tramp,
Am I Blue, Mack The Knife, I Got Rhythm, Ain't Misbehavin' are
all amongst the goodies. The overriding impression of Jazz Skat
Gumbo is that is all good vibes, warmth and a love of the material.
Ms Walker has swing in abundance, and warmth and good humour in her
voice, plus the ability to sound as if she is in the room with you
reaching out to get you on your feet as she sings. There is really
nothing to dislike about this album, it is a summer sizzler and a
winter warmer, able to get you out of any blues you have fallen into.
I
think this the last recording by guitarist Joe Beck before he died
last year [2008], so Golden Earings is a fitting memorial to
his magical fingers. That aside, this collection of songs originally
performed by Peggy Lee also acts as a wonderful showcase for vocalist
Laura Theodore. A sixteen song collection, not necessarily Lee's greatest
hits, but a rich selection from her capacious back catalogue, Golden
Earrings is fundamentally a simple proposition - one guitar, one
voice, no overdubs or multi-tracks. This is music as intimate as it
can be. The tracks include: Johnny Guitar, Why Don't You Do Right.
Fever, I Get Along Without You Very Well, Don't Smoke In Bed, You
Was Right Baby, Manana, Take A Little Time To Smile, and many
more from the Lee songbook. Ms Theodore's lovely voice seems to be
channelling Peggy Lee's voice on some of the tracks, but her own character
comes to the fore on the rest. She certainly has a similar way with
a lyric and an inherent husky sexiness that comes rolling out of the
speakers. Her voice is ably and sympathetically matched by Joe Beck's
gently swinging guitar licks on the faster numbers and by a velvet
glove on the slower - this is simply a love affair between guitar
and voice. Golden Earrings is a great tribute to both the late
guitarist and Peggy Lee, but it is also a fine showcase for Laura
Theodore, and promises much for the future of this vocalist.
I
don't think I've knowingly come across any musicians from Puerto Rico
before, so Transitions by Mike Arroyo, came as a very pleasant
surprise. Mike Arroyo is a jazz guitarist supremely conversant with
all styles of latin jazz, and his new album is one of the best audio
calling cards I've heard in a long time. It opens with a vibrant salsa
workout called Street Jam, extremely lively and about as good
a start to an album as you can get. Most of the tracks are instrumental
and, have Spanish titles which aren't translated into English - but
that doesn't matter as they are all easy on the ear and performed
by a superb band. There is also a very charming vocal by Millie Larancuente
on El Cuedara de mi. Plus many are uptempo workouts utilising
various latin styles. From the notes sent with the CD I understand
that Mr Arroyo is a born again Christian and the tracks here are all
dedicated to his devotion to the Lord. That aside, I think it reasonably
safe to say that God, not Satan, has all the good tunes! To a listener
on this side of the Atlantic listening to the very smooth sounds on
the CD I am reminded of the 70's - 80's jazz fusion albums by Bob
James and Lee Ritenour. No bad thing in my book - music that is impeccable
performed and recorded, easy on the ear and a lifter of spirits. So,
if you like smooth, latin-fueled jazz than I can wholeheartedly recommend
Mike Arroyo's album Transitions - it should be on everyone's
playlist.
One
is used to hearing that recording an album is a lengthy process, involving
many hours, days and even months in the studio [even years in the
case of some perfectionist rock bands!]. So it is encouraging to read
in the sleevenotes for The Big Band Theory that vocalist Bethany
Smith Staelens set out to record a bakers' dozen of tracks [that's
thirteen for the uninitiated] in five hours. Yes, that's right, thirteen
big band songs in one session of five hours. That she and the large
jazz band supporting her did it is a miracle of organisation, great
arrangements mostly by Steve Sample, and a love of the material. Ms
Staelens has a full throated yet extremely melodious voice that can
easily cover the variety of moods within these songs. And what songs:
All Or Nothing At All, That's Life, It Don't Mean A Thing If It
Ain't Got That Swing, I Got It Bad And That Ain't Good, It Might As
Well Be Spring, Love Is Here To Stay, a Jobim Medley and many
others. Overall, this is a good vibe jazz album full of great swing
charts for these classic show tunes, featuring a hot and energised
swing band and topped by a vocalist who soars over and sometimes through
the band to exceptional effect. It is amazing what can be achieved
in just one day! This album comes highly recommended, especially if
you like your jazz melodic and swinging.