CD of the Day - "The Jerry Ragovoy Story"

CD of the Day
"The Jerry Ragovoy Story: Time Is On My Side / 1953-2003" (Ace) 2008

After having showcased the work of his friends and collaborators Mort Shuman and Bert Berns, Ace Records turned the spotlight on Philadelphia songwriter-arranger-producer Jerry Ragovoy. It brings together two dozen of his most significant moments from half a century of music making.

Ragovoy's production work exemplifies the classic New York `Big City' sound of the 60s. His catalogue includes numerous hall-of-fame classics, almost all of which are included here in their original versions. (Others can be heard on Vol 1 and the forthcoming Vol 2 of Ace's "Bert Berns Story", Jerry and Bert having worked together in the mid 60s).

The artists Ragovoy worked with on a regular basis: Garnet Mimms, Lorraine Ellison, Carl Hall, Irma Thomas and, perhaps especially, Howard Tate - are among the most cherished by serious soul fans, and all are featured here.

The CD highlights include the rare original version of "Time Is On My Side" by trombonist Kai Winding, the even rarer, £300-rated debut 45 from Howard Tate "You're Looking Good" (also never previously reissued), Miriam Mabeka's greatest hit "Pata Pata", and titles from both Jerry's first session (the Castelles) and his most recent to date (playing piano on Howard Tate's recut of "Get It While You Can."

The CD booklet contains a 2008 interview with Ragovoy, specially conducted for this project by another song writing legend (and friend of Ace), Al Kooper.

Next Monday, Miss Aubrey @ "The Madness"

This next Monday, July 18, from 10pm to 2am, Aubrey Henderson (aka Miss Aubrey) will be dejaying @ The Standard Hotel West (8300 Sunset Blvd,West Hollywood, CA). Enjoy "The Madness" Party! No cover!!

Mike Longo Trio: "A Salute To The Great Jazz Pianists" @ Gillespie Auditorium, NY, July 19

Join us for a special concert when the Mike Longo Trio featuring Paul West on Bass & Ray Mosca on Drums presents “A Salute to the Great Jazz Pianists” on Tuesday, July 19 at "Jazz Tuesdays" in the Gillespie Auditorium at the New York Baha'i Center at 53 East 11th Street (between University Place & Broadway). There will be two shows at 8:00 and 9:30 p.m. Reservations and Information: 212-222-5159.

Mike Longo, a Steinway artist, has performed with a list of jazz legends that include saxophone great Cannonball Adderley, Henry Red Allen, Coleman Hawkins, George Wettling, Gene Krupa, Nancy Wilson, Gloria Lynn, Jimmy Witherspoon, Joe Williams, Jimmy Rushing, James Moody and many others.

It was in the mid-60s when Longo’s trio was playing at the Embers West, that Roy Eldridge told Dizzy Gillespie about this new pianist he had heard. Dizzy came to hear him play and soon asked him to become his pianist. This started a life-long musical relationship and friendship. From 1966 through 1975, Longo worked exclusively as Dizzy’s pianist and musical director. Mike left the Gillespie group officially in 1975 to venture out on his own, but continued to work for Gillespie on a part-time basis until his death in 1993.

Since that time Mike has recorded numerous albums and CDs on various labels with some 45 recordings with artists such as Gillespie, James Moody, etc. At present he has over 20 solo albums to his credit. He is sought after as a music instructor and is in demand for jazz clinics and concerts at universities and music schools throughout the world, and has appeared at the Lincoln Center’s new jazz room “Dizzy’s Club Coca-Cola.”

Longo is founder and President of Consolidated Artists Productions (CAP), an independent recording label, dedicated to allowing artists to pursue the types of projects that are in line with their career objectives. Longo’s latest venture, Jazz Tuesdays, is dedicated to allowing artists to retain creative control of their work and providing students and the general public with an opportunity to hear “world class jazz at affordable prices.”

The John Birks Gillespie Auditorium, dedicated to the late jazz great Dizzy Gillespie, who was a Bahá'í, is located within the New York City Bahá'í Center in the heart of Greenwich Village. Beginning on January 6, 2004, the anniversary of Dizzy’s death, his former pianist and musical director, MikeLongo, began presenting weekly jazz concerts every Tuesday evening at 8:00 and 9:30 PM.

Admission is 15.00, $10.00 for students. Tickets will be sold at the door, or call 212-222-5159 for reservations and information.

Jazz Tuesdays
in the John Birks Gillespie Auditorium
The New York Baha'i Center
53 East 11th Street (between University Place & Broadway)
Two shows: 8:00 and 9:30 p.m.

Tonite, Scot Albertson & Dr. Joe Utterback live @ Tomi Jazz, NY; Guests welcome to sit in

Lisa Lindsley live @ Tempo Lounge, July 15

If you happen to be in Las Vegas this Friday, don't miss the chance to stop by the Tempo Lounge at the Las Vegas Hilton (3000 Paradise Road), where Lisa Lindsley will be singing from 9pm to 1am, performing songs from her brand-new CD "Everytime We Say Goodbye," elected Best Vocal Jazz CD of the Month here on the Jazz Station blog.
Let's pack the house and have a great time!

EP of the Week - "David Guetta feat. Fergie: Erotica 11 - Gettin Over You"

12" EP of the Day (picture disc)
David Guetta feat. Fergie & Chris Willis: "Erotica 11 - Gettin Over You remixes" (Juno)

Side A
1. "Gettin Over You" (Tokoto remix)
2. "Gettin Over You" (Avicii vocal remix)
Side 2
1. "Gettin Over You" (Chuckie remix)
2. "Gettin Over You" (Mixshow edit)
3. "Gettin Over You" (Blame remix)

To listen to sound clips and order this EP:
http://www.juno.co.uk/ppps/products/400535-01.htm

CD Reissue of the Week - "Freddie Hubbard: Straight Life"

CD Reissue of the Week
Freddie Hubbard: "Straight Life" (CTI/Sony Masterworks) 1971/2011

Rating:
***** (musical performance)
****1/2 (recording & mix; I only regret that Ron's bass was mixed too low on "Here's That Rainy Day," to the point that most of the reviews about the album refer to that track as a duet between Hubbard and Benson)
****1/2 (despite the tape hiss heard on "Here's That Rainy Day" on the left channel)

Produced by Creed Taylor
Recorded & Mixed by Rudy Van Gelder
Front Cover Photographs by Pete Turner
Liner Photos by Chuck Stewart
Album Design by Bob Ciano
Total Time 36:35

Reissue Produced by Richard Seidel
Mastering Engineers: Mark Wilder & Maria Triana @ Battery Studios, NYC

Freddie Hubbard's second album for CTI, "Straight Life," recorded in a single day session on November 16, 1970, followed "Red Clay" with another stellar cast: tenor sax giant Joe Henderson (on his heyday, when he was doing great but extremely underrated albums for Milestone like my personal favorite "Black is the Color," with a wild approach that sounds very different from the smoothness of the work in his last years), Herbie Hancock on Fender Rhodes, bassist Ron Carter, drummer Jack DeJohnette, guitarist George Benson, and percussionists Richard "Pablo" Landrum (triangle, congas, books) and Weldon Irvine (playing tambourine as if he was in a trance.)

That was Landrum's second & final session for CTI (he had previously appeared on Stanley Turrentine's "Sugar") and Irvine's first & last session for the label, although he would write two tunes for Stanley Turrentine's reunion with Milt Jackson on "Cherry." For "Straight Life," he contributed the acid-jazz anthem "Mr. Clean," revisited by the 2009 incarnation of the CTI All Stars during their European tour that year and included on the "Montreux Jazz Festival" DVD. Hubbard's title track is outstanding too, and there's a pretty version of the standard "Here's That Rainy Day" performed only by the leader on flugelhorn, Carter on bass and Benson on the guitar.
*********
Jazz historian Douglas Payne posted a great comment on his "Sound Insight" blog:
http://dougpayne.blogspot.com/2011/06/celebrating-cti-records-40th.html

Trumpeter Freddie Hubbard’s second CTI album is one of his very best. Coming on the heels of the classic Red Clay, a tough act to follow, no doubt, Straight Life more than compensates with two long blowing tunes and a sublime ballad performance that ranks as one of the best in the trumpeter’s entire discography. It is a landmark of 70’s jazz and one that Billboard aptly enthused perfectly “bridges the gap of modern and traditional styles,” adding that “Hubbard’s trumpet is exquisite and all of the other musicians complement each other to great extremes.”

Few better – or more – words can explain what makes a great jazz album great.

Originally released in January 1971, Straight Life confirms not only that CTI was on the right track (Hubbard’s record was the label’s 12th LP release) but, more importantly, that Creed Taylor was a force to be reckoned with in shaping the ideal of what jazz could achieve during the 1970s. But good as the music and the musicianship might be, the record was hard to program into bite-size radio formats and, in the end, it probably didn’t perform as well for Hubbard or the label as it ought to have.

Straight Life reunites much of the team responsible for the solid music of Red Clay, including saxophonist Joe Henderson (first heard with Hubbard on the trumpeter’s 1965 album Blue Spirits), keyboard player Herbie Hancock (who featured Hubbard on many of his early solo records, including his 1963 debut Takin’ Off) and ubiquitous bassist extraordinaire Ron Carter, adding guitarist George Benson and percussionist Richard “Pablo” (Richie) Landrum to the mix. Jack DeJohnette replaces Red Clay’s Lenny White.

It’s a dream-team of heavy-hitting modern players to be sure. But it’s interesting to note that Hubbard, Henderson, Hancock, Carter and DeJohnette had earlier contributed to Hancock’s 1966 Blow Up soundtrack and Hubbard would later re-group with Henderson, Benson, Carter, DeJohnette and fellow CTI alum Hubert Laws for the trumpeter’s lovely “To Her Ladyship” from 1978’s Super Blue.

Up first is Freddie Hubbard’s 17-minute jam tune “Straight Life,” with Hancock comping gloriously on Fender Rhodes and Jack DeJohnette firing rapidly on all pistons, more like a rock drummer than a jazz drummer, but definitely a part of the song’s frenetic action. Landrum must have had to work overtime to keep up. The song is almost like a funked-up bossa. Henderson solos magnificently in a trademark style that mixes the power and fury with the passion and fire of his unappreciated and undervalued Milestone albums of the period. Henderson’s solo nearly decimates Hubbard’s own solo – nothing shabby, but hardly matching the intensity of the song’s other performers. Hancock then solos in the funky melodic style he established on Fat Albert’s Rotunda (no spacey interludes here), followed by Benson providing an almost intellectual interjection that still has the warm soulful passion that seems to suggest the composer wanted to alternate Henderson and Hancock’s jazzier interludes with Hubbard’s and Benson’s soulful passages. A percussion workout ensues to bring it all back home.

Weldon Irvine (1943-2002) joins the cast on tambourine (!) and contributes the memorable “Mr. Clean,” a perfect vehicle for Hubbard’s fiery horn antics – which are at their very best here – and the band, which crafts a singularly sample-worthy and Hubbard-esque groove, rock this thing out. Hubbard, Henderson, Hancock and Benson all solo beautifully. Irvine would wax the tune again several months later with Richard “Groove” Holmes on the B-3 great’s Comin’ On Home and later on his own 1972 solo debut Liberated Brother. Each version of the tune sounds considerably different than Hubbard’s take, suggesting that Creed Taylor knew precisely how to keep everybody on target and in line. It’s worth noting that one of Irvine’s earliest recordings outside of his stint as Nina Simone’s musical director, is “Can’t Let Her Go” from Freddie Hubbard’s 1968 album High Blues Pressure.

(Given the strength of Weldon Irvine’s additional contributions to the CTI legacy, namely “Sister Sanctified” – later renamed “Funkfathers” without proper credit – and “Introspective,” both from Stanley Turrentine’s 1972 CTI classic, Cherry, it’s surprising the pianist/composer/arranger was never provided an opportunity to work more extensively with CTI, a label that even recorded Nina Simone in the years after Irvine left her employ.)

Straight Life closes out with an extraordinarily lovely performance of “Here’s That Rainy Day,” the 1953 song by Johnny Burke and Jimmy Van Heusen from the forgotten Broadway musical Carnival in Flanders. Even by 1970, when this version was recorded, the song had become a jazz standard and a favorite among pop singers, particularly Frank Sinatra, who first recorded the song in 1959 and performed it often in concert on his many TV specials. Producer Creed Taylor had also recorded the song on productions for Stan Getz, Kai Winding, Wes Montgomery, Astrud Gilberto and Walter Wanderley, so it’s fair to assume that he too liked the song just as much. In this reading, Hubbard, on flugelhorn, is paired with only guitarist George Benson and bassist Ron Carter for a truly inspired take that warrants classic status. While it’s probably no surprise that “Here’s That Rainy Day” was issued as the album’s single, it’s probably less surprising that this lovely jazz instrumental didn’t turn into a hit when Elton John’s “Your Song” and Santana’s “Black Magic Woman” ruled the airwaves.

For whatever reason, Straight Life is graced by not one but two Pete Turner photographs, a rarity in the CTI discography, as was the trumpeter’s follow-up album First Light. The photographer has no idea why designer Bob Ciano juxtaposed these two photographs. But he clearly approves. The front cover is called “Liberty” (1962), a double exposure. “I went to the Battery and shot [the Statue of Liberty] with a long lens for the small image,” explains Turner. “Then I took the boat to Liberty Island and kept shooting as we got closer and closer. The airplane flying by was just luck.” The back cover, “Parthenon” (1964), was from a series the photographer produced cataloging various wonders of the world, but “not picture-postcard style, more interpretative.” The abstract take on monuments honoring the Roman goddess of freedom (Libertas) and the Greek goddess of wisdom (Athena) has a curiously perfect relationship to the music of Straight Life.
********
"Straight Life" can be ordered from Dusty Groove through the link below:
http://www.dustygroove.com/item.php?id=wfwmm55vcs&ref=browse.php&refQ=kwfilter%3Dstraight%2Blife%26amp%3Bincl_oos%3D1%26amp%3Bincl_cs%3D1

And that's what they say about the CD:

An amazing second CTI set from Freddie Hubbard – one that takes off nicely from Red Clay territory, and starts to hit an even funkier mode! The tracks here are all relatively long, with a huge amount of solo space for Freddie on trumpet, Joe Henderson on tenor, George Benson on guitar, and Herbie Hancock on piano. The title track "Straight Life" has a style that's quite searing and righteous at points – almost some of Freddie's boldest playing on record from the time. It's followed by an excellent take on Weldon Irvine's "Mr Clean" – one that's rompingly funky while still as righteous as the work on side long title track – played with some great electric piano from Herbie and sweet guitar lines from Benson. The set closes with a mellow take on "Here's That Rainy Day", played in a way that reminds us of Hubbard's more lyrical style – but still with plenty of CTI 70s overtones. © 2011, Dusty Groove America, Inc.

CD of the Week - "Achim Kaufmann: Verivyr"

CD of the Week
Achim Kaufmann: "Verivyr" (Pirouet) 2011

Rating:
*** (musical performance)
**** (sonic quality)

Produced & Engineered by Jason Seizer
Featuring: Achim Kaufmann (acoustic piano), Valdi Kolli (acoustic bass) & Jim Black (drums)
Recorded on September 20 & 21, 2010, and Mixed on May 18 & 19, 2011 @ Pirouet Studio, Munich
Cover Design and Photography: Konstantin Kern
Total Time 50:43
All Compositions by Achim Kaufmann

Achim Kaufmann's music is nuanced, highly refined trio jazz. The pieces on this CD are enigmatic and loaded with energy, wild and at the same time structured. The exciting streams of musical thought, the heat of creative moments, the intensity of musical movement - all are blended with the allure of discovering new musical possibilities.

"With his sensitive play and free-wheeling, searching sense of sound, Achim Kaufmann is one of a handful of exceptional jazz pianists who has injected a new pulse into West European improvised music" was how it was formulated in the tribute to the winner of the 2001 South-West Radio Jazz Prize.

The German pianist was born in 1962 in Aachen and is now living in Amsterdam. "Kyrill" - released in 2008 - was Kaufmann's debut on Pirouet as leader, but he was already a part of the party as sideman on Henning Sievert's Pirouet projects "Symmetry" and "Blackbird."

Whereas on his earlier trio recordings Kaufmann tended towards a very open improvisational style, much of the music on Kyrill - including the compositions - is more arranged and structured. Yet the music is in no way academic; rather, within its complexity there is a sensual and physical strength that fosters the sensation of freewheeling improvisation. Titled "Verivyr," Kaufmann's second recording for Pirouet Records as a leader is coming out now in July 2011.

Diana Krall & Tony Bennett reviewed

Weather Mars Bennett, Krall Gig
by Jason MacNeil
Toronto Sun, July 4, 2011

When Tony Bennett and Diana Krall co-headline a concert anywhere, it should be an electrifying experience.

Sadly, Mother Nature's electrifying performance Saturday night at Toronto's Rexall Centre definitely dampened what should have been a very stellar evening of jazz standards.

Approximately 30 minutes and eight songs into Bennett's set, organizers put a hold on the proceedings due to rain and lightning bolts darting across the dark skies. Originally one 10-minute delay turned into a string of 10-minute delays before finally the show was cancelled just before 11 p.m. Despite some fans shouting "rain or shine" in reference to what was printed on their tickets, the safety of the audience and production crew took precedence.

Although iSports Concerts Ltd. President/CEO Kevin Albrecht -- who helped create the BlackCreek Summer Music Festival -- made the announcement and added Bennett regretted what happened, some fans appeared rather annoyed. Perhaps it was due to how well Bennett, a spry 84 who said he'd sing all night if the weather agreed, sounded in what little was played.

Whether on Watch What Happens or They All Laughed, Bennett was the consummate showman, thanking the crowd when not belting out the closing lines with his seasoned four-piece band behind him. The snappy I've Got Rhythm and Sing, You Sinners also earned him a loud ovation.

Bennett took a short reprieve from the songs to talk about how Bob Hope gave him his stage name and also how he and Rosemary Clooney were the original "American Idols." A cover of Hank Williams' Cold, Cold Heart followed but by the time he hit Steppin' Out, dozens of fans were stepping out to the concourse to avoid the heavy rains.

Thankfully, the skies were far from grey for Diana Krall and her three-piece group during an excellent hour-long gig. After performing a recent show in Montreal solo, Krall looked to be back in her element alongside guitarist Anthony Wilson during Deed I Do and a cover of Tom Waits' Jockey Full Of Bourbon.

Krall also showed her playful nature when an airplane flew overhead during one song. Cocking her head skyward like many in the crowd, the singer ad-libbed the lyrics to Nat King Cole's Exactly Like You without missing a beat. The result was a snippet of Bennett's Fly Me To The Moon and a bit of Elton John's Rocket Man before she played the piano intro to Benny And The Jets.

"I got a million of them," Krall said as many laughed.

The set was also filled with many extended solos with each member stepping up to the plate, hitting a home run and leaving the quartet smiling. But Krall slowed things down with A Case Of You and I've Grown Accustomed To His Face.

"I know Tony Bennett plays tennis but this is ridiculous," the singer said early on to the near capacity crowd.

No Diana, the ensuing weather was ridiculous.

SACD/SHM-CD of the Month - "João Gilberto"

SA-CD/SHM-CD of the Month
João Gilberto: "João Gilberto" (Universal Japan) 1973/2011

Produced by Rachel Elkind
Production Coordinator: Sue Cassidy Clark
Engineered by Walter Carlos (aka Wendy Carlos)

Featuring: João Gilberto (acoustic guitar & vocals), Sonny Carr (drums - actually, hi-hat with brushes) and Miucha (vocal on "Izaura")

Vocal CD Reissue of the Month - "Kathy McCord"

Vocal CD Reissue of the Month
Kathy McCord: "Kathy McCord" (CTI/Media Arte) 1970/2011

Rating:
***** (musical performance)
**** (recording, mixing & remastering)

Original album produced by Creed Taylor
Engineered by Rudy Van Gelder
Cover Photo: Price Givens
Album Design: Tony Lane

Featuring: Kathy McCord (vocals), Harvey Brooks (electric bass), John Hall (acoustic & electric guitars), Paul Harris (piano & organ), Wells Kelly (drums), Ed Shaugnessy (drums & tabla), and Hubert Laws (flute)
Strings & Brass arranged & conducted by Don Sebesky
All tunes composed by Kathy McCord, except "Velvet Smile" (co-written by McCord & Billy Vera) and "I'm Leaving Home" (John Lennon & Paul McCartney)

For decades, Kathy McCord's self-titled debut album for CTI (recorded on five sessions in November and December 1969, and released in March 1970 as the first project that Creed Taylor produced at Van Gelder Studio as the LP that started a new era for CTI as an independent label, after a 3-year association with A&M) remained as one of the most hard-to-find vinyls in the past century.

Then, out of the blue, an unauthorized CD reissue came out in Japan back in 1999. And last year, most exactly on March 2, 2010, the UK-based label Ace-Big Beat Records released in Europe a 2-CD set titled "Kathy McCord: New Jersey to Woodstock," a 28-track collection with the complete CTI album plus a whole CD of previously unissued recordings. But with a completely different cover art.

Now, on June 24, 2011, "Kathy McCord" was once again being reissued on CD in Asia, in a limited edition of 3,000 copies issued by the Seoul-based label Media Arte Korea. Better: in a mini-LP sleeve restoring the original LP cover art (conceived by CTI art director Tony Lane, who also did the cover to Jobim's "Stone Flower" before being replaced by another master, my friend Bob Ciano), with the beautiful pic by photographer Price Givens on the front cover. And there are bonus tracks too; 10 of the 18 songs extra songs added to "New Jersey to Woodstock."

Alain Manuel, a French CTI historian from the CTI Fan Blog (http://alain70.unblog.fr/), was the first who alerted me about this new reissue. But I was on my way to Canada, and only some days later, in Montreal, I had the chance to contact Kathy McCord. To my surprise, that's what she told me: "I'm fine...but was not aware of any release in Korea...??? I will have to tell BV (Billy Vera, her brother and unofficial business manager). What label, do you know? I know there was a pirated CD some years ago (the one from the Vivid Label)...didn't know then either, I never saw a dime :( When I find out what the story is I will let you know."

Anyway, here's the tracklist of the Korean CD already on sale:
1. Rainbow Ride
2. I'm Leaving Home (yes, the Beatles hit!)
3. Candle Waxing
4. Baby James
5. The Love Flow
6. New York Good Sugar/Love Lyric #7
7. For You, Child
8. Jennipher
9. Take Away This Pain
10. Velvet Smile
Bonus Tracks:
11. I'll Give My Heart To You
12. I'll Never Be Alone Again
13. New Horizons
14. Acapulco
15. Baby, Come Out Tonight
16. That's A Love That's Real
17. No Need To Wait
18. I'll Be Lovin' You Forever
19. Magnolia
20. Madman

For those who aren't aware, Kathy McCord's lone 1969 for Creed Taylor's CTI Records (arranged by Don Sebesky & engineered by Rudy Van Gelder) has long been a cult folk-psych classic, rated highly by all those who enjoy artists such as Nick Drake, Vashti Bunyan and their ilk. Its cult status has been boosted by its incredible scarcity - a true holy grail in collector circles, if ever there was one.

Aside from its original vinyl issue in early 1970, the only other time it's been available in 40 years was via an almost impossible-to-find, limited Japanese CD reissue (released in 1999 by Vivid Sound Corporation) that is, if anything, harder to find than the original album now!

The London-based Ace Records reinstated this precious music to catalog in 2010. Besides the 10 tracks from the CTI LP (recorded at Van Gelder Studios, in New Jersey, on November 18, 19, 20 & 24 and December 2, 1969, featuring Harvey Brooks - the bassist who recorded on Miles Davis' "Bitches Brew" -, John Hall, Paul Harris, Wells Kelly, Ed Shaugnessy and Hubert Laws, who had just been signed to CTI too), that 2-CD set also included both sides of an even rarest pre-CTI single (recorded in 1968 for the Rainy Day label) and nearly 20 demos that Kathy cut in Woodstock during the 1970s. All were from Kathy's own collection, and none had ever been released commercially prior to that CD."While the legendary Paul Butterfield was always a musical presence in the Woodstock community and offered his advice and commentaries freely, he was not on the sessions," Kathy says. "However Howard "HoJo" Johnson, the Brecker Bros., blues master Kal David, the multi-talented Marty Grebb and many others are, contributing their unique musical talents, for which I am eternally grateful."

The "many others" also include David Sanborn (on whose album "Promise Me the Moon" she would later appear), Amos Garrett, Tommy "T-Bone" Wolk, John Platania, Tom Malone, Lou Marini, Lew Del Gatto, and Levon Helm & Rick Danko (of The Band), along with vocal backing by the Voices of East Harlem.

Assembled with the full cooperation of Kathleen McCord and her brother, the equally-celebrated Billy Vera (both of whom contribute new sleeve notes), "New Jersey To Woodstock" is a musical journey very much worth taking.Here are some images from the original CTI LP cover:New text written by Tony Rounce in 2010:

Had events taken a different turn, Kathy McCord might now be regarded as a 60s pop icon, rather than a cult heroine. It was her early mentor Chip Taylor’s intention that she would record the original of the now-classic ‘Angel Of The Morning’, but his partner Al Gorgoni favoured Evie Sands. Instead Kathy got to record a single for their Rainy Day label in 1968 that fell stillborn from the presses.

A year later, Kathy became the first non-jazz artist to be signed to Creed Taylor’s renowned CTI imprint. Her eponymous album featured musicians of the calibre of John Hall, future founder of Orleans, on guitar and flautist Hubert Laws. Its ethereal beauty failed to reach its intended audience, and it was not until years later – decades, even – that it started to achieve a belated recognition, particularly among those who enjoy the works of such McCord peers as Nick Drake and Vashti Bunyan. Copies of the original LP have crept up in price and nowadays fetch a pretty penny when offered for sale. A limited edition Japanese CD from the mid-90s sold out almost before it hit the streets.

In the 21st century, the cult of Kat continues to snowball. When the opportunity arose for Ace to license and re-reissue “Kathy McCord”, we jumped at it. She is, after all, family by relation – her big brother Billy Vera has long been part of the Ace team, as both compiler and annotator. Billy is a thrilled as we are that we’re able to give his little sister the treatment that her small but mighty catalogue deserves. It was Billy who approached her on our behalf to see if she had unissued material lurking in corners or cupboards that we could use to make that catalogue even bigger.

Listening to the repertoire, it’s quite incredible that Kathy never got the kind of breaks that were afforded to considerably less talented contemporaries of hers. She had the look, and the looks. She wrote most of her own material and sung it with supreme confidence and soulfulness. Her lack of success can only be down to a matter of being on the wrong label, or in the wrong place, at the wrong time. But it’s never too late to travel from New Jersey To Woodstock, so buy your ticket and let Kathy McCord make your journey worthwhile.

Instrumental CD Reissue of the Month - "Joe Farrell: Canned Funk"

Instrumental CD Reissue of the Month
Joe Farrell: "Canned Funk" (CTI/Wounded Bird) 1975/2011
Rating:
***** (musical performance)
**** (recording & mix)
** (remastering, compressed to hell)

First CD reissue ever anywhere in the world (thanks to the wise guys of the Wounded Bird label) of this cult CTI album produced by Creed Taylor & engineered by Rudy Van Gelder, with an iconic cover pic by genius photographer Pete Turner (actually, chosen by Turner himself as the front cover of his latest brilliant book, "The Color of Jazz.")

The follow-up to Farrell's "Upon This Rock," this is a massive (and very very wild) jazz-funk-rock album, with four extended tunes -- the much-sampled title track "Canned Funk," the ferocious "Animal," "Suite Martinique" and "Spoken Silence" -- taped in November & December 1974 with Joe Farrell's pianoless touring quintet at that time.

Besides the leader on soprano, tenor & baritone saxophones plus flute, the group features Joe Beck on electric guitar (great use of fuzz pedal, wah wah and other vintage electronic devices), Herb Bushler (arguably the most underrated bassist of the fusion era, a great musician who can also be heard on Michael Frank's "Tiger in the Rain" and Thiago de Mello's "Amazon"), Jim Madison (aka Jimmy Madison) on drums, and percussionist Ray Mantilla, mostly heard on congas (Van Gelder obtains a fantastic psychedelic effect by applying delay effects to Ray's breaks on "Suite Martinique".) Later on, Mantilla would take part of Joe Beck's "Beck" LP debut for Kudu, reissued as "Beck/Sanborn."

Some problems, though. Like the two other Farrell's CTI albums recently reissued by Wounded Bird ("Penny Arcade" and "Upon This Rock"), this CD preserves most of the original cover artwork conceived by album designer Bob Ciano (including the liner graphics and the liner photos by Sheila Metzner), but doesn't reproduces the original "CTI label," which means that Farrell is not credited as composer anywhere! The CTI logo has also been deleted.

The liner cover of the CD includes another mistake: "Originally released as CTI 6053 in 1974," since the album (Joe Farrell's sixth project for CTI as a leader) was actually released only in March 1975, peaking at # 30 in the Billboard "Jazz Albums" chart. Despite all these errors and the crappy sound of the remastering, it still deserves to be our "CD Reissue of the Month" due to the strong musical content.

"Canned Funk" is also being distributed in Japan through Clinck Records:

Btw, in June 2008 we had posted about a lawsuit filed by Joe's daughter, Kathleen Firrantello, in the U.S. District Court in New York, regarding unathourized sampling from the tune "Upon This Rock."
http://jazzstation-oblogdearnaldodesouteiros.blogspot.com/2008/06/joe-farrell-sampled-and-rappers-are.html

The rappers Kanye West, Methodman, Redman and Common have been sued by the daughter of the saxophonist Joe Farrell because they used parts from Farrell's composition "Upon This Rock" from 1974 without seeking permission from Farrell's estate (Reuters). The lawsuit will closely look at West's "Gone" from his album "Late Registration" (2005), at Common's "Chi-Chi" from his album "Be" (2005, coauthor and producer: Kanye West), as well as at "Run 4 Cover", a collaboration by the rappers Method Man and Redman from 1999 from their album "Blackout". Farrell's daughter seeks punitive damages of at least 1 million dollars and asks that no further copies of the songs be made or distributed.********
The CD is already available on DustyGroove:
http://www.dustygroove.com/item.php?id=gzcgrbwfhn&ref=browse.php&refQ=kwfilter%3DCanned%2BFunk%26amp%3Bincl_oos%3D1%26amp%3Bincl_cs%3D1

And that's what they say:
Nothing canned here – as the sound, style, and groove of the record is as fresh and freaky as the classic image on the cover! The riffing rhythms get going right from the start – some amazing lines from a rhythm combo that includes Joe Beck on guitar, Herb Bushler on bass, Jim Madison on drums, and the mighty Ray Mantilla on percussion – adding in these extra changes and fills that really get the tunes moving wonderfully – providing a perfect platform for Joe Farrell's wonderful work on tenor, soprano, baritone, and flute! The sax lines are as angular as the rhythms – tight, choppy, and completely funky – no wonder the record's a CTI classic that folks have dug for years! Tracks are all nice and long – and titles include "Canned Funk", "Animal", and "Spoken Silence". © 2011, Dusty Groove America, Inc.

For more details, please check: http://jazzstation-oblogdearnaldodesouteiros.blogspot.com/2010/11/three-of-joe-farrells-cti-gems-will-be.html

Box Set of the Month - "Art Pepper: Unreleased Art Vol. VI / Blues for the Fisherman"

Box Set of the Month (4-CD Set)
Art Pepper: "Blues for the Fisherman" (Widow's Taste) 1980/2011

Rating: ***** (musical performance)

All of two nights live @ Ronnie Scott's in London, on June 27 & 28, 1980.
4 CDs with 25 tracks of great music plus bonus tracks of talk transferred from original analog tapes at 192 kHz, 24-bit by Penguin Recording (Eagle Rock, CA)
Remastered by Wayne Peet @ Newzone Studio (Los Angeles, CA)
Artwork & Photos by Laurie Pepper

"Blues For The Fisherman" features motherlode of material, with both energetic, roof shaking numbers and more delicate, subtle ones. The 4-CD set, an expanded & complete version of a live engagement previously available as a single LP, is especially cool in it's inclusion of Art's avuncular stage banter, really making us feel like we're there in the audience and making us wish we were! It's Vol 6 in the "Unreleased Art Pepper" series, and it's a heck of a lot of music from a legendary session in one package. As usual, Milcho Leviev stands out, performing astonishing piano solos.

Highlights: "Blues for Blanche," "Rhythm-A-Ning," "Ophelia," "I'll Remember April," "Make A List," "Goodbye" and "What's New?"

'The Twelve Bars of the Decade.' - "Blues for the Fisherman" was hailed by one jazz journalist as just that when four of these tracks were released in the U.K. in 1980 by the Mole Jazz label. That LP remained at the top of the British jazz charts for well over a year, so Mole eventually released a second album from the same session. Fans all over the world have worn those LPs out and have been clamoring for 30 years to hear it all, everything that happened during those two historic nights at Ronnie Scott's, part of Art Pepper's first-ever tour of Europe.

Laurie Pepper, the alto saxophonist's widow and owner of Widow's Taste Records, says there is a logic to releasing everything. "Art was a storyteller," explains Laurie. "Every tune was a vehicle, a way for him to express his life of pain and glory. He loved to talk about it, too. Communication, soul to soul, was what he aimed for. When we listen to these sets, we hear a narrative: In the music and between the tunes Art keeps us, the audience, informed. He lets us track the skill, persistence, anguish, and exhilaration of the process of performing, the story of an artist at work. From the stage he tells us what is and isn't working as he sees it at the moment. He reveals how nervous he is and how grateful for a sympathetic crowd to whom he jokes, complains, explains, and reminisces."

The band features Milcho Leviev, "The Bulgarian genius" (Arnaldo DeSouteiro) and frequent Pepper sideman. (Above: Pepper and Leviev with the original Mole vinyl release.) He was putative leader of this session. (Art was then under contract to Galaxy Records, which would not permit him to record as leader for any other label, however obscure). Also in the band: the young, exciting Tony Dumas on bass and Art's favorite drummer, Carl Burnett.

At Mole's behest, Art plays some tunes less usual for him in 1980: "Stardust," "Rita San," "Untitled #34," "Blues for the Fisherman." He also plays familiar favorites, "What's New," "Goodbye," "I'll Remember April," "A Song for Richard," "Rhythm-A-Ning," and his own: "The Trip," "Ophelia," "True Blues, "Red Car," "Make a List," and of course "Straight Life" (while announcing it Art plugs his autobiography of the same name, about to be released in England later that year). And he plays clarinet, as well, on "Anthropology" and "In a Mellow Tone." Every set at Ronnie's was a little piece of art, a composition, lovingly constructed for an eager and perceptive audience.The album includes Laurie's personal photos and 24 pages of notes describing Art's emotions and preoccupations, how he felt about the situation's pressures and delights. (Above: Pepper prepping music, assisted by feline muse Blanche.) She talks about "The Fisherman," and, as usual, she gives us her own amused, nonplussed, and dazzled take on all of it.
***********
Laurie Pepper launched the Widow's Taste label in 2006 in order to introduce Art to a generation who "may not know how soulful jazz can be," to offer an alternative to the shoddy wares of bootleggers, and to satisfy the blessedly insatiable desires of Art's knowledgeable fans. Using previously unreleased sessions recorded by radio stations or picked up surreptitiously by fans, she's inspired to keep going by those fans and by the overwhelming praise of critics.

Since it began, Widow's Taste has released one album every year:
Volume I: "Abashiri" (2006)
"Unreleased Art, Vol. 1 is a required purchase for Pepper fans who want to relish Art's devotion to his craft all the way to the end of his life. Playing from the heart that few alto players [can] match. . . . Bluesy and explorative. . . along with some frenzied avant blowing." --Jeff Krow, Audiophile Audition

Volume II: "The Last Concert" (2007)
"He left this world at the top of his game, as one of the world's foremost alto sax players. And now, we can confidently state these things because of Unreleased Art, Vol. II. [He] nimbly hits every note bang on through some tricky passages [with] imaginative, lyrical improvising. [When] Pepper switches to clarinet, an instrument that for not being his primary one, is so well mastered by Art he could have stood toe to toe with Buddy DeFranco." --Pico, BC Music

Volume III: "Croydon" (2008)
"The album has enormous depth, pathos, and tension. Both Croydon discs vividly display Pepper's metallic warmth and seemingly limitless stream of ideas. This CD reflects the agony of his personal and artistic struggle. Pepper's tonal edge is on full display on uptempo numbers as well as the ballads. Dig what he does with Gordon Jenkins's 'Goodbye.' There's so much sorrow there, so much Billie Holiday. On Ophelia, a mid-tempo piece dedicated to women, Pepper's passion soars as he delivers line after line without ever coasting or doubling back." --Marc Myers, JazzWax

Volume IV: "The Art History Project" (2009)
"The set dedicates one CD to Pepper's work from the 1950s, one to the '60s, and one to the '70s. The early tracks float by on his urgent, vulnerable, and melodic alto saxophone improvising. It's some of the best West Coast jazz of that time, luscious pop art with a fighting spirit. The set becomes interesting in the 1960s, after Pepper's six on-and-off years in jail, and shows his increasing respect for John Coltrane. Ms. Pepper lobbies hard for the '70s as his prime period. . . . The intensity and experience they transmit is unmistakable." --Ben Ratliff , The New York Times

Volume V: "Stuttgart" (2010)
"[On 'Make a List'] Pepper proves what a great R&B saxophonist he is, funky and rich, full of that greasy good charm that causes feet to stomp and parishioners to cry 'Amen.' A master of musical drama. . . Pepper's playing is a tidal wave from a detonated atom bomb, relentless in climax. Extended readings of 'Over the Rainbow' and 'Cherokee' close the set illustrating Pepper's supreme command of the ballad and up-tempo bop. This is the Götterdämmerung of the jazz life." --C. Michael Bailey, AllAboutJazz.com
Volume V in this series, "Stuttgart" was named one of the top ten historical/reissues of 2010 by JazzTimes and Arnaldo DeSouteiro's Jazz Station Poll.

Laurie plans to continue releasing great unheard Art as long as she continues to discover material. Planned for next year: A magnificent live concert in Norway including a video of part of the performance. "Maybe the most dramatic offering yet," she suggests.

Art Pepper/Widow's Taste Web Site:
http://artpepper.net

DVD of the Month - "Miles Davis: Live at Montreux / Highlights 1973-1991"

DVD of the Month
Miles Davis: "Live at Montreux / Highlights 1973-1991" (Eagle Vision) 2011

Rating:
***** (musical performance)
**** (sonic quality)

An eagerly awaited release, "Miles Davis: Live At Montreux - Highlights 1973-1991" (total time: 133 minutes!) finally came out on DVD in the USA on June 20, by Eagle Vision. Fans, of course, would prefer to savour the complete DVD series from all concerts performed by Miles in Montreux (a DVD box set titled "The Definitive Montreux Collection" will be released in the Fall, including all of Miles' Montreux appearances), but at least these highlights are a good start.

Miles played many times at the Montreux Jazz Festival, especially after his return to performance in the early eighties. This DVD brings together some of the highlights (ten tunes from eight of his Montreux concerts) of those shows, stretching back to his first appearance on July 8, 1973 -- backed by Michael Henderson, Al Foster, Mtume, Reggie Lucas, Pete Cosey and David Liebman -- and up to his final concert there on July 8, 1991 (originally released on LaserDisc as "Miles & Quincy Live at Montreux," with Quincy Jones conducting Gil Evans' arrangements), just a couple of months before his death in September of that year.

Bonus Features: An insightful and personal interview with Carlos Santana talking about his memories of and relationship with Miles Davis and how he was influenced by him.(alternate cover; which one do u prefer?)

DVD Tracklist:
1. Ife - 1973
2. That's What Happened - 1984
3. Code MD - 1985
4. Pacific Express - 1985
5. Jean-Pierre - 1986
6. Heavy Metal Prelude - 1988
7. Jo Jo - 1989
8. Hannibal - 1990
9. The Pan Piper - 1991
10. Solea - 1991

Format: Color, DVD, NTSC
Language: English
Region: Region 1 (U.S. and Canada only)
Rated: NR (Not Rated)

A complete box including all Miles' appearances at Montreux will be released in October. Meanwhile, you can dig "The Complete Miles Davis at Montreaux" 20-CD box set released in 2002, comprising all concerts by Miles Davis at the Montreux Jazz Festival between 1973 and 1991 (most exactly in 1973, 1984, 1985, 1986, 1988, 1989, 1990 and 1991), leading different groups that featured such musicians as Bob Berg, Kenny Garrett, Rick Margitza (in the brilliant 1989 concert I was fortunate to attend), Kei Akagi, Darryl Jones, John Scofield, Grady Tate and many others.Miles Davis is universally regarded as one of the most influential and innovative musicians and composers of the 20th Century. He was at the forefront of the jazz world for decades and was involved in the evolution of bebop, cool jazz, modal jazz and jazz fusion amongst others.(Miles at Montreux in 1989)

Vinyl Reissue of the Month - "João Gilberto: Bossa Nova!"

Vinyl Reissue of the Month
João Gilberto: "Bossa Nova!" (Doxy) 1961/2011

180gram HQ vinyl reissue of João Gilberto's third and last album for the Odeon label, recorded in March, August & September 1961 in Rio de Janeiro, Brazil. Reissued by the Italian company Doxy on their "Dig-A-Log" series, including a bonus CD of the same album. As you can see, the original cover was modified, and the name "Bossa Nova!" added to it (the original LP title was only "João Gilberto".) Arranged & conducted by Antonio Carlos Jobim. The final item of Gilberto's Odeon trilogy, previously reunited in the controversial "The Legendary João Gilberto" CD.

Tracklist:
Side A
1 Samba da Minha Terra
2 O Barquinho
3 Bolinha de Papel
4 Saudade da Bahìa
5 A Primeira Vez
6 O Amor em Paz (Once I Loved)
Side B
7 Você e Eu
8 Trem de Ferro (Trenzinho)
9 Coisa Mais Linda
10 Presente de Natal
11 Insensatez (How Insensitive)
12 Este Seu Olhar

ジョアン・ジルベルトのオデオン3部作　DOXY MUSIC 180g重量盤LP復刻が完結！
ボサノヴァの創造主ジョアン・ジルベルトの初期オデオン作品。近年ElレーベルによりCD化が進んでいますが、コレクターとしてはやはりアナログ盤もハズせません。

DOXY MUSICよりリリースされている当LP復刻シリーズは、180g 重量盤LPアナログ ＋ 同内容のボーナスCD + 帯付き 仕様でCDにも劣らぬ人気盤。
しかも今回、オデオン3部作最後の1枚、CDでも未復刻の幻の3rdアルバム 『BOSSA NOVA！』 （1961） もめでたくLP復刻されることに！こちらもやはり同内容のCD、帯が付いた嬉しいコレクターズ仕様です。
このリリースにより、オデオン3部作のLPリリースがいよいよ完結。あらためて全3作をご紹介いたします。

180g重量盤LPアナログ＋ボーナスCD / 帯付き仕様
ボーナスCDの収録曲はLPと同一です
これぞオリジナル・ボサ・ノヴァ/世紀の復刻がここに完結!!
創造主ジョアン・ジルベルトのオデオン3部作最後の1枚(1961年オリジナル)が、180g重量盤LPで復活!
しかも、同内容収録のCDが付属。
マニア歓喜のコレクターズ・アイテム!!

ボサ・ノヴァを創り上げた世紀の偉人ジョアン・ジルベルトのサード・アルバム(原題 JOAO GILBERTO)が、1st、2ndアルバムに続いて、180g重量盤LPに同内容のCD盤を付属したコレクターズ・アイテム仕様で登場。ジョアン・ジルベルト、そしてボサ・ノヴァの誕生が凝縮された永遠のマスターピースが、ここに完結。
LPではもちろん、CDとしても単体アルバムとしてのリイシューは、これが世界初の快挙!
(※3rdはUK盤CDでも未発売、2011年4月現在)

「バルキーニョ」「ボリーニャ・ヂ・パペル」「サウダーヂ・ダ・バイーア」「ヴォセ・エ・エウ」
「コイザ・マイス・リンダ」「インセンサテス」...ジョビンの楽曲や、ジョアンが愛した古き良きサンバのカバー、
そしてカルロス・リラ、ホベルト・メネスカルといったボサ・ノヴァ第二世代の楽曲も取り上げた傑作。
********
これぞオリジナル・ボサ・ノヴァ/世紀の復刻がここに完結!!
創造主ジョアン・ジルベルトのオデオン3部作最後の1枚(1961年オリジナル)が、180g重量盤LPで復活!
しかも、同内容収録のCDが付属。
マニア歓喜のコレクターズ・アイテム!!

ボサ・ノヴァを創り上げた世紀の偉人ジョアン・ジルベルトのサード・アルバム(原題 JOAO GILBERTO)が、1st、2ndアルバムに続いて、180g重量盤LPに同内容のCD盤を付属したコレクターズ・アイテム仕様で登場。ジョアン・ジルベルト、そしてボサ・ノヴァの誕生が凝縮された永遠のマスターピースが、ここに完結。
LPではもちろん、CDとしても単体アルバムとしてのリイシューは、これが世界初の快挙!
(※3rdはUK盤CDでも未発売、2011年4月現在)

「バルキーニョ」「ボリーニャ・ヂ・パペル」「サウダーヂ・ダ・バイーア」「ヴォセ・エ・エウ」
「コイザ・マイス・リンダ」「インセンサテス」...ジョビンの楽曲や、ジョアンが愛した古き良きサンバのカバー、
そしてカルロス・リラ、ホベルト・メネスカルといったボサ・ノヴァ第二世代の楽曲も取り上げた傑作。

すべての曲が歴史そのものとなるボサ・ノヴァのスタンダードにして、
完璧かつ繊細なフレージングを創り上げたジョアン自身の手で吹き込まれた、聖典的レコーディング。
今...蘇る。
（配給元資料より)

Vocal CD of the Month - "Lisa Lindsley: Everytime We Say Goodbye"

Vocal CD of the Month
Lisa Lindsley: "Everytime We Say Goodbye" (Blondsongstress Productions) 2011

Rating:
**** (musical performance)
****1/2 (sonic quality)

Featuring: Lisa Lindsley (vocals), George Mesterhazy (acoustic piano, keyboards & melodica) & Fred Randolph (acoustic bass)

Lisa Lindsley's voice is a precious diamond of rare beauty. Blessed with a lovely, pure and warm tone, she also ennunciates much better than most singers around these days. She never over-performs, there's no artificial dramatic effects, no acrobatics phrasing. She just sings beautifully. And does it perfectly backed only by piano and bass, documented at Whip Records in Berkeley, California, with a fat sound a la Rudy Van Gelder.

The highlights: Lisa's readings of Blossom Dearie's "Inside a Silent Tear" (with George Mesterhazy opting for a Rhodes-like keyboard sound plus subtle synthesized strings and an effective use of melodica -- actually, performing the best (maybe the only one?) melodica solo in a jazz session recorded this century; "The Nearness of You," one of the Hoagy Carmichael-Ned Washington's masterpieces, which opens the album; the best vocal version I've ever heard of "Alice in Wonderland" ("I'm in love with Bill Evans and his version really made me want to sing it," Lisa says, although I prefer the version cut by Dave Brubeck & Paul Desmond on their "1975: The Duets" album); and, last but not least, Ray Noble's "The Very Thought of You," performed as a hauting vocal/piano duo, without bass.

I only regret the too obvious choices for the rest of the program: "Don't Explain" (which lost all its power in such a wrong tempo), "It's Only A Paper Moon" (although Mesterhazy has an outstanding performance not only during his solo but also phrasing behind Lisa when she reprises the melody), "Everytime We Say Goodbye", "Why Don't You Do Right" and Jobim's bossa anthem "The Girl from Ipanema" (in a much better take than Diana Krall's recent version.) Anyway, an extremely pleasant album. By a great singer.
**********
On her new recording, "Everytime We Say Goodbye," jazz vocalist Lisa Lindsley makes a commanding debut as a storyteller and balladeer of the first order. With impeccable support from George Mesterhazy, the pianist and arranger, and bassist Fred Randolph, Lindsley is fearless in exploring the inner workings of her songs and what she calls "the moments of stillness between the lines."

"As a singer, you are always trying to find your voice," says Lindsley. "I believe I found it on this album, with the help of George Mesterhazy. Between the three of us, magic happened that weekend in the studio."

Mesterhazy, best known as Shirley Horn's pianist during the last several years of her life, and more recently as the musical director for the extraordinary San Francisco singer Paula West, was the catalyst for the session, which was scheduled spontaneously and without rehearsal. Yet Lisa and her musicians recorded most of the songs in first or second takes. "'The Very Thought of You' and 'Everytime We Say Goodbye' are masterpieces," Mesterhazy says, "but the whole album is a snapshot of love, talent, and sincerity working in perfect synchronicity."

"Every great song has a complete story in it, with a beginning, middle, and end," Lindsley says. "When you're singing you have to be connected to the words, or there's nothing there, you have to have an emotional connection to the song. I want to tell the audience the story of the song, and my experience with acting helps that immensely."

Lisa Lindsley was born and raised in Ogden, Utah, the daughter of a jazz-loving father and a former film actress mother who'd left Hollywood because of the McCarthy-era blacklist. By high school Lisa had discovered musical theater, a passion that carried through to college. She attended the prestigious California Institute for the Arts (CalArts) theater program, then spent a decade touring and performing with The Imagination Company.

Raising and homeschooling three daughters put her performing ambitions on the backburner for a long time, but in recent years she developed a successful career as a voice-over artist and, inspired by her daughters' own involvement in musical theater, she took the plunge into singing. The Bay Area's rich pool of jazz education has proven invaluable -- from her classes at Contra Costa College with Roger Letson, whose vocal group, Vocal Flight, was a six-time winner of DownBeat magazine's student music award in the college vocal group division; to her studies with Maye Cavallaro, Laurie Antonioli, and Pamela Rose at the Jazzschool in Berkeley and her on-the-job training with veteran pianist/drummer Kelly Park.

Last year, Lindsley enrolled in the Jazzschool Institute's demanding jazz studies degree program. She's found that "the work has made me freer with my interpretation and has sharpened my ear. It has given me an increased appreciation for the jazz greats."

Recorded during the breakup of her marriage, "Everytime We Say Goodbye" reflects the currents of longing, melancholy, and fortitude running through her life at that time. In concert, Lisa brings vivacious energy to the stage, with a repertoire reflecting her resilience and rekindled exuberance. Last March 8, she was joined by George Mesterhazy, Fred Randolph, and master drummer Eddie Marshall in a celebration of the release of her first CD. The concert took place at Piedmont Piano Company, 1728 San Pablo Avenue (at 18th Street), Oakland. Hopefully, many more will follow all over the country.

Instrumental CD of the Month - "Bill Carrothers Trio: A Night at the Village Vanguard"

Instrumental CD of the Month
Bill Carrothers Trio: "A Night at the Village Vanguard" (Pirouet) 2011

Rating:
***** (musical performance)
**** (sonic quality)

Featuring: Bill Carrothers (piano), Nicolas Thys (bass) & Dré Pallemaerts (drums)
Recorded @ Village Vanguard, NYC, on July 18, 2009
Mixed @ Pirouet Studios, Munich, on March 14, 2011
Engineers: Jon Rosenberg (recording), Jason Seizer (mixing) & Christoph Stickel (mastering)

The art of the piano jazz trio is really amazing. It's always contemporary, remains undated, and allows us to savour many aesthetics concepts that are always surprising. The evolution of the Bill Carrothers Trio, as documented on this brilliant 2-CD set, is the newest good blessing. It's the perfect combination of introspection and expressiviness, never sounding too cerebral (or "intellectual") like most of the European trios in the current scene, neither sounding too predictable like most of the American trios (all, including the Brads and Jason, still trying to copy Bill Evans or Keith Jarrett and using an agressive approach a la Bad Plus).

Btw, there was a time, in the mid-80s, when I tought that Jarrett's "Standards" Trio couldn't be surpassed. Actually, they (Jarrett, Peacock, DeJohnette) can't, because there's a special magic there. But there's a different kind of very special magic also on trio dates I recently heard on albums led by Marc Copland, Pablo Held and Bill Carrothers -- not coincidently, all recording for the Munich-based Pirouet label. Each one has its own distinctive soul. And Carrother's latest effort, live at NY's Village Vanguard, certainly ranks among the best "jazz piano trio" albums of the decade.

The musical intensity is hauting, but they play pretty too, like in my two favorite tracks, "Gertrude's Bounce" and "Junior's Arrival." Pretty but never in an "easy" mood. There are great ballad performances too, such as Richie Powell's "Time" that sound romantic but never mellow. Bill revisits several tunes from his previous studio album, recorded with different musicians (Drew Gress and Bill Stewart): the superb "Joy Spring," focused on songs composed by or associated with Clifford Brown. But once again they sound fresh and surprising thanks to the personal energy that the new musicians brought to the engagement. Not to mention Carrother's strong originals. Listen also to what they do to "Jordan Is A Hard Road To Travel." It's a musical miracle, started by bassist Thys and developed by his pals in the highest level of creative power.

Top track: Richie Powell's "Gertrude's Bounce"
Other highlights: "Tiny Capers," "Joy Spring/Delilah," "Let's Get Lost," "This Is Worth Fighting For," "Days of Wine and Roses" and "Blue Evening"
**********
Pirouet's first live and first double CD features pianist Bill Carrothers' fabulous trio. The album relives an entire concert: the first set - CD1, the second set - CD2. An evening at the legendary Village Vanguard jazz club with the trio of one of the best American jazz pianists of the last twenty years is passed on, and you can listen to sparkling, shimmering piano-trio jazz -- music that has many a heady, exciting story to tell.

Bill Carrothers always sounds different - and always has his own sound. He was born in 1964, lived in New York a good twenty years ago, and then moved back out of the Big Apple. Today he lives near a town called Mass City on Michigan's Upper Peninsula, and enjoys the seclusion. He says that he needs trees, and doesn't want a lot of people around him. He is a real individual - also as a musician.

He said in an interview that he wants to allow a certain amount of chaos in his fingers. Bill primarily practices pieces from Bach and Mozart; he doesn't practice jazz in order to safeguard against playing clichés. A musician can't be further from clichés than Carrothers is. He has proved that on his four previous Pirouet recordings, "I Love Paris," "Keep Your Sunny Side Up," "Home Row" and, the best of them all, "Joy Spring."

"Jazz 'n' More" - July/August 2011

COVER STORY
Ahmad Jamal – Nur Taten zählen
Vor genau 60 Jahren veröffentlichte er seine erste Platte. Er gehört zu den letzten grossen Meistern der Jazzgeschichte: Wir trafen den 81-jährigen Pianisten Ahmad Jamal am Jazzfestival Bern. Von Pirmin Bossart

FLASHES – jazzahead!-Skoda-Award – grosse Ehre für Claude Nobs
– Bill Ramsey swings (4-CD-Box bei Bear Family)
– 17. Lucerne Blues Festival 5.–13. November 2011
– The Blues Music Awards 2011
– Suisa verteilt 117 Millionen Franken an Musikschaffende
– 2011 Winners JJA Jazz Awards
– Milliardär Blavatnik kauft Warner Music
– 18. Fricktaler Blues Festival 2011
– Ein musikalisches Labor bringt Leben ins Herz von Kleinbasel
– Sendezeit von "Kulturplatz" auf SF 1 massiv verkürzt
– Moods und jazznojazz – Jazz-Partnerschaften mit der ZKB erneuert
– "Kind of Jazz" im Zürcher Kaufleuten Hof gut angelaufen

FAREWELL
– Cornell Dupree
– Bobby Flanigan
– "Godfather of Rap" Gil Scott-Heron
– Ray Bryant
– Zim Ngqawana

REVIEWS
– Taktlos Festival Zürich 27.–29. Mai 2011 – singende Sägen, schmirgelnde Saxofone
– 8. Blues Festival Baden 21.–28. Mai 2011
– Inntöne Jazzfestival 10.–12. Juni 2011
– Elbjazz Festival Hamburg 25.–26. Mai 2011 – Jazz von der Werft
– Jazzfestival Bern 11. März–21. Mai 2011: Musikplattform und Newsquelle
– Afro-Pfingsten 23.–28. Mai 2011
– 22. Schaffhauser Jazzfestival 18.–21. Mai 2011 – viel gefälliges Mittelmass
– 40. Moers Festival 10.–12. Juni 2011 – gut gemachte Harmlosigkeiten
– 17. Stanser Musiktage 1.–7. Mai 2011 – für jedermanns Geschmack
– Jazzfestival Basel 2011, 30. April–13. Mai 2011 – Rehabilitation des Akkordeons im Jazz Offbeat
– Les Paul und "Jazz Collection" an der Zürcher Ämtlerstrasse
– Jazzwerkstatt Peitz Nr. 47, 13.–15. Mai 2011
– blues'n'jazz rapperswil-jona, 24.–26. Juni 2011 – bis die Schlosstürme tanzten!
– Dr. Lonnie Smith Trio (Q4 Rheinfelden, 19. Juni 2011)

PREVIEWS – Festival da Jazz St. Moritz, 14. Juli–14. August
– Montreux Jazz Festival, 1.–16. Juli 2011
– 9. BeJazzSommer, Rathausplatz Bern, 2.–6. August 2011
– 3. Sierre Blues Festival, 25.–28. August 2011
– Jazzfestival Willisau 2011, 25.–29. August
– 21. Langnau Jazz Nights, 26.–30. Juli 2011
– 23. Jazz Tage Lenk, 8.–17. Juli 2011
– Alpentöne 2011 – Altdorf, 12.–14. August 2011
– Merano Jazz 2011, 12.–17. Juli 2011
– Bülacher Jazztage, 7.–10. Juli 2011, Rathausplatz, 8180 Bülach
– 10. Magic Blues Festival, 8. Juli–4. August 2011
– Stimmen 2011, 7.–31. Juli 2011
– YSTAD SWEDEN JAZZ AT IT'S BEST! 4.–7. August 2011
– Festival International du Piano de la Roque 2011, 22. Juli–21. August
– Blue Balls Luzern, 22.–30. Juli 2011

SPEZIAL ZKB Jazzpreis 2011
(na)PalmT(h)REE gewinnt die neunte Edition
Der ZKB Jazzpreis hat sich in den vergangenen Jahren zum bedeutendsten und höchstdotierten Preis des Schweizer Jazz entwickelt, und Jahr für Jahr wird die Latte höher gelegt. Auch an der diesjährigen neunten Verleihung standen sich drei Bands gegenüber, welche durch Innovation und Perfektion bestachen.

PORTRAIT Poet, Chansonnier und Anarchist – Georges Brassens hatte auch die Seele eines Jazzers
Reisender, kommst Du nach Paris im Sommer, dann vergiss nicht, die Ausstellung zu Georges Brassens in der Cité de la Musique zu besuchen. Brassens selber war ein Reisender, dessen Wege nicht nach Rom führten, wie ein Bändchen mit seinen Gedanken und Maximen ironisch festhält. Es offenbart einen authentischen Freidenker und Anarchisten, der sich nicht so leicht kategorisieren lässt. Von Ruedi Ankli

PORTRAIT Vertrauen in die Kraft des Tons – Rosset Meyer Geiger lassen der Musik Raum
Keiner weiss, wohin die musikalische Reise letztendlich gehen soll, als sich in St. Gallen drei junge Musiker um die zwanzig in der Funkband Poodlekickin treffen. Und sie geht weit weg vom Genre Funk. Die Rede ist vom Pianisten Josquin Rosset, vom Bassisten Gabriel Meyer und vom Schlagzeuger Jan Geiger, die nunmehr bereits seit Herbst 1999 unter jazzi-kalischen Vorzeichen zusammen musizieren. Franz X. A. Zipperer

INTERVIEW Paul Kuhn
Sein Gesicht spricht Bände: Von tiefen Furchen durchzogen und geprägt von hängenden Tränensäcken, strahlt es etwas Schalkhaftes aus, ist von leiser Wehmut und gewinnender Liebenswürdigkeit. Man muss ihn einfach gern haben, diesen Paul Kuhn. Seit über einem halben Jahrhundert ist der inzwischen 83-Jährige ein Star und der ungekrönte König der Unterhaltungsmusik. Von Reiner Kobe

PORTRAIT Es ist kalt und stinkt nach Fisch – Lars Dupplers höchstpersönlicher Islandweg
Schon seit einiger Zeit glänzt Lars Duppler an den Tasten. Und das aus dem einfachen Grund, weil er nicht irgendeiner sein will, den es als Pianisten schon gibt. Lars Duppler ist schlichtweg er selbst. Das wissen neben dem 35-jährigen Pianisten vor allem der Trompeter Nils Wülker, der Sänger, Entertainer und Bandleader Tom Gaebel oder die Jazz-sängerin Inga Lühning zu schätzen und können musikalisch nicht ohne ihn. Es sind Lars Dupplers elementare Kraft und seine Hingabe an den Spielprozess, die faszinieren. Seine Expressivität, die sich gleichzeitig aus Vehemenz und Feinsinn speist. Franz X.A. Zipperer

CD-SPECIAL Miles Davis als Gast bei "TUTU"
"Tutu" ist die erfolgreichste Aufnahme von Miles Davis in den 80er-Jahren. Rechtzeitig zum 25-jährigen Jubiläum ist eben das CD-/DVD-Triplealbum "Tutu Revisited" von Marcus Miller erschienen, dem Komponisten und Produzenten von "Tutu". Der Livemitschnitt eines Konzerts vom 22. Dezember 2009 in Lyon besticht vor allem durch mitreissende Soli des Trompeters Christian Scott und des Saxofonisten Alex Han. Wie aber war das denn eigentlich mit "Tutu", dem Original? Ein Blick zurück. Von Christian Rentsch

PORTRAIT Thomas Inderbinen – Der Klangmeister
Thomas Inderbinen baut Trompeten, Flügelhörner und Saxofone für Jazzgrössen wie Candy Dulfer, Roy Hargrove und James Morrison. Seine Instrumente in einzigartig, sagen die Stars. Wir haben den Blasinstrumentebauer in seiner Werkstatt in Buchs (AG) besucht – und einen rührend bescheidenen Menschen angetroffen. Von Andreas Krebs

PORTRAIT Detaillierte Klangschönheit – Die Wasserfuhr-Brüder geben sich selbst die Bodenhaftung zurück
Kometenhaft aufgestiegen zieht plötzlich ein jazzspielendes Brüderpaar am Musikhimmel seine Bahnen: Julian Wasserfuhr an der Trompete und am Flügelhorn und sein zwei Jahre älterer Bruder Roman Wasserfuhr an Piano, Synthesizer und Celesta. Sowohl mit den beiden in der Vergangenheit vorgelegten Platten "Remember Chet" und "Upgraded in Gothenburg" als auch live spielten sich die Wasserfuhrs durch ihre kreative Reife und ihr gegenseitiges fast symbiotisches Begleiten in die erste Liga der Jazzgiganten. Von Franz X.A. Zipperer

LABELSTORY Everestrecords – Label für Zeitgenössisches
Everestrecords in Bern wurde vor zehn Jahren gegründet. Das Label veröffentlicht vor allem elektronisch produzierte Musik und ist international gut vernetzt. Von Pirmin Bossart

ANDERS HÖREN Simone Keller
Johannes Anders präsentiert spannende Hörbeispiele an Simone Keller.

NEW PROJECTS
Azymuth – vierzig Jahre, dreissig Alben und an Ruhestand ist noch lange nicht zu denken. Jose Roberto Bertrami, Alex Malheiros und Ivan Conti von Azymuth haben im Mai einmal mehr ihre musikalischen Fähigkeiten auf den Tisch gelegt: Aurora heisst ihr neustes Werk, erschienen beim Londoner Label Far Out. JAZZ'N'MORE hat sich mit Ivan Conti unterhalten. Von Luca D'Alessandro

Markus Stalder – Zen-Meditationen und Songlines im Jazzgroove
"La vie ne fait pas de cadeaux" sang einst der belgische Chansonnier Jacques Brel im berühmten Lied "Orly". Gerade umgekehrt sieht es der Gitarrist Markus Stalder in seinem Projekt "Le Cadeau" und der CD "Blumen". Von Ruedi Ankli

XL Target mit KJ Dave Doran und Christy Doran
Mit seinem neuen Projekt XL Target peilt KJ Dave Doran gleich mehrere grosse Ziele an. Der Einsatz softwarebasierter Produktions-weise auf dem Weg zu einer live umsetzbaren Musik ist nur ein Aspekt dieses neuen Unternehmens. Von Christof Thurnherr

Meier/Preisig/Rüttimann – Out Of Chaos
Wenn Dieter Meier etwas anpackt, dann darf man gespannt sein. Angepackt hat er ein neues Musikprojekt mit zwei jungen Schweizer Talenten, dem Geiger Tobias Preisig und dem Gitarristen Nicolas Rüttimann. "Out Of Chaos", so der Projektname, überzeugt und führt in die Welt der Singer/Songwriter, aber auch der Improvisation. Von Peewee Windmüller

BLUES’N’ROOTS
INTERVIEW Tosho Yakkatokuo – Sticks, Skins & Sushi
Seit gut zwei Jahrzehnten sitzt er bei Philipp Fankhauser am Schlagzeug und ist verantwortlich für Drive und Rhythmik der Band. Doch dies ist nur eine Seite von Tosho Yakkatokuo. Auch als Filmproduktionsleiter oder Sushi-Caterer betätigt er sich mit Erfolg. JAZZ'N'MORE sprach mit Tosho Yakkatokuo am Blues Festival Basel über seinen Werdegang. Von Marco Piazzalonga

PORTRAIT Smokin' Joe Kubek & Bnois King
I pull the Blues out of him – he pulls the Jazz out of me ...
Der Unterschied könnte kaum grösser sein: Hier der deftige weisse Texas-Rocker mit Tattoos, strähniger dunkler Mähne und weissem Geissbockbart, dort der ruhige, freundliche Schwarze, der direkt von seinem Job am Schalter einer kleinen Bank-Zweigstelle irgendwo im ländlichen Süden zu kommen scheint. Smokin' Joe Kubek und Bnois King sind ein ungleiches Paar, doch ihre musikalische Partnerschaft existiert seit über zwanzig Jahren und erzeugt eine spannende, abwechslungsreiche Melange in Sachen Texas Rhythm & Blues. Von Marco Piazzalonga

"Jazz Journal" - July 2011

Cover Story: Mike Stern
The former Miles Davis guitarist has been dismissed by critics who should know better as a mere rocker. He says "Well, I’m more into bebop! What I'm checking out musically is Sonny Rollins and Trane." Fred Grand sets the record straight

On the Beat - The Jazz Cruise; Herts Jazz Festival; Brecon Jazz Festival; Ronnie's Britfest; Barbican Blaze; major UK concerts in July: Keith Jarrett, Ramsey Lewis, Al Jarreau, Abdullah Ibrahim

Profiles - Dave Stapleton is turning jazz into a growth industry; Kyle Eastwood makes our day by firing off good tunes; Ingrid Laubrock gives us an idea why one of her bands is called Sleepthief

Letters - Getz CD packaging goes west; good on the NJA; recognise Spike Heatley; Shearing's passport; early jazz on film; famed jazz pianist Billy Vance; Abse or Absolom?

Scratching the Surface - Steve Voce recalls the trenchant Johnny Dodds ("Seventy years after his death Dodds is quietly appreciated by more musicians than ever"), the unswinging Lu Watters band and some friendly conversations with Ken Colyer, "whose poison spittle could kill a man at six paces"

Jazz Live - For three days over the May bank holiday the world’s leading mainstreamers converged on Norwich. Peter Gamble reports on Houston Person, Ken Peplowski, Warren Vaché, Eiji Kitamura, Rossano Sportiello, Howard Alden, Scott Hamilton, Daryl Sherman, Tardo Hammer, Bob Wilber and more. Organiser Jerry Brown is already working on next year's gig

Monty Alexander - The Jamaican-born pianist looks forward to summer gigs and expounds his musical philosophy: "Bottom line, you gotta feel good" See Mark Gilbert's full interview here

Per Husby - Is Norwegian jazz all glacial introspection? Michael Tucker seeks another perspective from pianist Per Husby, sometime associate of James Moody, Chet Baker and others
Lost In Meditation - Alun Morgan rediscovers three outstanding saxophonists: Art Pepper, Graham Bond and the overlooked Herman sideman and later jazz educator, Jerry Coker

Seminal sessions - Ian Carr: Solar Plexus. In the second of our occasional series on landmark recordings, Roger Farbey puts the case for a solar-plexiform thump from Ian Carr, all of 40 years ago

Rumba jazz, a Latin primer Nick Duckett completes his two-part survey of the Latin American influence in pre-war jazz, looking at America’s embrace of the exotic and culminating in Machito’s early 40s Afro-Cuban fusion

Remembered - Snooky Young, lead trumpeter on classic 1960s Count Basie albums; Bob Flanigan, founder member of the Kenton-inspired Four Freshmen; Bert Wilcox, British impresario who ignored trade union protectionism to present Sidney Bechet

Books - Horace Parlan: My Little Brown Book (biography) and Horace Parlan Song Book; Jazz Photography, A Bibliography Spanning 75 Years, by Jan J Mulder

Record Reviews - Monty Alexander, Chris Barber, David Binney, Nels Cline, Joséf Eliasz, Marc Copland, Wolfgang Dauner, Miles Davis (Tutu Deluxe Edition); Ernest Dawkins' New Horizons, Gordon Goodwin's Big Phat Band, The Impossible Gentlemen, Roger Kellaway, Rebecca Kilgore & Harry Allen, Pat Metheny, Bob Mintzer, Dave Moorwood's Big Bear Stompers, Dick Morrissey/Michael Garrick Trio (unissued vinyl edition), Gretchen Parlato, Jeremy Pelt, Tommy Smith, Craig Taborn, Peter Schärli and more, including a host of reissues.

"DownBeat" - July 2011

Cover Story:
Marc Ribot & Nels Cline -- DownBeat brings together two of the most courageous, boundary-crossing guitarists in jazz, rock and experimental music today for a spirited conversation about the ever-evolving role of the world's most popular instrument.

Yellowjackets -- One of jazz's most acclaimed acoustic-electric bands turns 30 this year, welcoming former group member Will Kennedy back into the fold on drums and releasing a new CD on the highly respected Mack Avenue imprint.

Gerry Hemingway -- Drummer/composer/educator Hemingway discusses how he came to join the faculty at Musikhochschule of Lucerne, Switzerland, and the complexities of connecting his charges to the diverse flavors of the jazz timeline.

Wess Anderson -- The first-string alto saxophonist with Wynton Marsalis' Jazz at Lincoln Center Orchestra, "Warmdaddy" Anderson has a unique sound that combines traditional New Orleans flavors with a sweeping blues style that's heavily influenced by hard-bop legend Cannonball Adderley.

Special Section: Guitar School -- Expanded Woodshed and Toolshed coverage with a focus on stringed instruments.

PLAYERS
Eli Digibri (saxophone)
Brad Shepik (guitar)
Yaron Herman (piano)
Greg Ward (saxophone)

BLINDFOLD TEST -- Vernon Reid

THE BEAT
· Miles Davis Festival takes over springtime Chicago
· General Electric draws on Benny Goodman for advertising campaign
· Vinyl Freak
· Caught: Wynton Marsalis and Eric Clapton team up at Jazz @ Lincoln Center; John Zorn Masada Marathon in New York; Jeff Beck at Chicago's Cadillac Palace

JAZZ ON CAMPUS
· Twentieth Anniversary of vocal jazz at Niles North High School in Skokie, Ill.

WOODSHED - Guitar School
· Pro Session: How to Transcribe Jazz Solos, by guitarist Jimi Durso
· Master Class: guitarist Dave Stryker
· Transcription: John Abercrombie guitar solo on 'Timeless'

REVIEWS - Hot Box
· Corea, Clarke & White, Forever (Concord)
· Joshua Redman/Aaron Parks/Matt Penman/Eric Harland, James Farm (Nonesuch)
· Al Di Meola, Pursuit of Radical Rhapsody (Concord)
· Bill Frisell, Sign Of Life (Savoy)

CD Reviews
· Darius Jones/Matthew Shipp, Cosmic Leader (Aum Fidelity)
· Muhal Richard Abrams, SoundDance (Pi)
· Tim Brady, 24 Frames-Scatter + Trance (Actuelle)
· Matana Roberts, Live In London (Central Control)
· Noah Haidu, Slip Stream (Positone)
· Cuong Vu Fourtet, Leaps Of Faith (Origin)
· Sammy Nestico and the SWR Big Band, Fun Time And More Live (Hanssler)
· MSG (Rudresh Mahanthappa, Chander Sardjoe, Ronan Guilfoyle), Tasty! (Plus Loin)
· Harriet Tubman, Ascension (Sunnyside)
· Hiromi, Voice (Telarc)
· Byron Morris and Unity, Unity, A Restrospective (By-Mor Music)
· Noah Preminger, Before The Rain (Palmetto)
· Ken Peplowski, In Search Of (Palmetto)
· Farmers By Nature, Out of This World Distortions (Aum Fidelity)
· Brian Lynch, Unsung Heroes (Hollistic)
· Anthony Branker & Ascent, Dance Music (Origin)
· Oliver Lake/Christian Weber/Dieter Ulrich, For A Little Dancin' (Intakt)
· Tedeschi Trucks Band, Revelator (Sony)
· Michel Reis, Point Of No Return (Armored)
· Trio Dolce Vita, Amarcord (Jazzwerkstatt)
· Orchestre National De Jazz, Shut Up And Dance (Bee Jazz)
· Other Dimensions In Music Featuring Fay Victor, Kaiso Stories (Silkheart)
· Young Sun Nah, Same Girl (ACT)
· Abdullah Ibrahim & Ekaya, Sotho Blue (Sunnyside)

Jazz Column
· Ben Allison, Action-Refraction (Palmetto)
· Joelle Leandre Tentet, Live at the Ulrichsberger Kaleidophon (Leo)
· Michel Rosciglione Trio, Moon And Sand (Tosky)
· Sean Smith Quartet, Trust (Smithereen)
· Charles Thomas, The Colors Of A Dream (Sea Tea)
· Greg Byers, Some Dark, Beautiful Morning (Forward Motion)

Blues Column
· Johnny Rawls, Memphis Still Got Soul (Catfood)
· Tab Benoit, Medicine (Telarc)
· Magic Sam, West Side Soul (Delmark)
· Trampled Under Foot, Wrong Side Of The Blues (Vizztone)
· John-Alex Mason, Jook Joint Thunderclap (Naked Jay Bird)
· Mix & Dorp, Blues & Beat (Black and Tan)
· Paul Speidel Band, Retrorocket (PSP)
· Marion James, Essence (EllerSoul)
· Yank Rachell, Blues Mandolin Man (Blind Pig)
· Los Fabulocos, Dos (Delta Groove)
· Cousin Harley, It's a Sin (Little Pig)

Beyond Column
· Various Artists, Salsa Boriqua De Chicago (Numero Group)
· Sammy Ayala, S/T (Candela)
· Various Artists, Cartagena, Curro Fuentes & The Big Band Cumbia and Descarga Sounds of Colombia (Soundway)

Historical Column
· Bill Dixon, Soul Note and Dynagroove reissues.

Book Review Column
· Arrigo Cappalletti, Paul Bley, The Logic of Chance (Vehicule Press)

Montreal Gazette: Diana Krall reviewed

Krall Enthralls Crowd with Intimate Performance
by Jeff Heinrich
Montreal Gazette, June 27, 2011

Diana Krall invited her audience into the living room of her childhood home in Nanaimo, B.C. and, alone at the grand piano with only her dad's gramophone as a prop for company, played the music she loved as a girl.

It was an intimate show Sunday night at Theatre Maisonneuve, as Krall put a sold-out hall at ease with standards and surprised with some not-so-standards of the Great American Songbook.

Opening with Peel Me a Grape, she soon launched into a medley of Fats Waller tunes, stamping her black stiletto heels as she pounded away at the keyboard, boogie-woogie style, tossing her blond curls to the rhythm.

Form-fitting, sleeveless black dress aside, it was a far cry from that old Chrysler ad and The Look of Love, more a return to the roots of Krall's 1995 fest debut when she proved her love for Nat King Cole.

In between songs, she talked fondly of learning her chops from Jimmy Rowles and jamming in Oscar Peterson's basement, recalled how she was a disaster on third clarinet in her high-school band, and reminisced about listening to jazz on her father's reel-to-reel tape player and 78-rpm records.

If the audience didn't always get her jazz references, Krall forgave them. "Thanks for listening to songs you might not have heard before," she said after introducing something by Bix Beiderbecke and getting no response.

No matter. Whether it was a familiar tune like Don't Fence Me In or an unfamiliar one like the vintage ode to dope, Reefer Song, Krall's performance -- her first full-length solo concert ever -- pulled the crowd into her world.

She closed her 15-song, 80-minute uninterrupted set with a lovely but obscure 1938 movie tune called As Long As I Love and came back for a three-song encore playing -- guess what? -- a ukulele. Why? Because her childhood hero, Groucho Marx, played one.

She and her husband, Elvis Costello play the instrument in bed, she explained, before softly strumming All I Do Is Dream of You and encouraging her fans to sing along. Few knew the words.

Then it was back to the piano for Krall's own Departure Bay and, as an adieu, a Prairie Lullaby for her twin boys, Dexter and Frank. Sweet dreams, all.

CD of the Week - "Bob Gluck Trio: Returning"

CD of the Week
Bob Gluck Trio: "Returning" (FMR) 2011

All compositions by Bob Gluck, except "Something Quiet" by Gluck, Michael Bisio & Dean Sharp
Recorded (May 17, 2010), Mixed and Mastered by Will Schillinger @ Pilot Recording Studios, Monterey, MA
Assistant Engineer: Stephen "Stitch" Keech
Produced by: Bob Gluck and Will Schillinger
Produced for FMR by Trevor Taylor

True to its title, "Returning" reprises the energetic trio led by avant-garde jazz pianist-composer Bob Gluck on his first critically acclaimed jazz recording Sideways. The 2008 date, "a potent first document of this expansive trio," (Cadence) has been described as "a near classic work of art." (JazzTimes Community) "Returning" is also an apt successor to Bob Gluck's recent "Something Quiet," and further highlights Gluck’s breadth and depth as both pianist and composer and leader of exciting jazz ensembles.

Bustling with life, "Returning" reunites Gluck with bassist Michael Bisio and drummer-percussionist Dean Sharp, three "seasoned improvising musicians who have found and honed their own communication skills and brought them to a greater whole." (Chronogram) The new recording showcases Gluck's original compositions, which articulate a broad expanse of mood, pulse, and color. The music is textural, sonically lush and multilayered, highlighting Gluck's evocative, angular, yet lyrical approach to the piano. Returning is a work of joyful intensity. It reflects a maturing of the band since its initial foray. As Gluck recounts: “It was my goal to find a balance between my equal affection for straight ahead and more exploratory jazz traditions. Why choose one or the other when they can coexist quite happily?”

Gluck’s life story is as interesting as his music. Raised in New York City, the political activist/Julliard trained pianist eventually developed an interest in the revolutionary acoustic jazz of Ornette Coleman and Keith Jarrett’s American quartet (featuring Coleman alumni Dewey Redman and Charlie Haden, as well as innovative drummer Paul Motian) that was much affected by the altoist’s groundbreaking improvising conceptions. The influence of Jimi Hendrix, seventies era electric Miles Davis groups, Herbie Hancock’s Mwandishi band and Weather Report had already spawned an enduring interest in electronic music that has persisted to this day.

Following a long absence from the music scene, during which time Gluck was engaged in a religious life as a rabbi, Gluck began uniting his philosophical, spiritual and aesthetic pursuits in the world of academia and electronic music. Then in 2005 he returned to the piano as his primary means of musical expression, employing electronics in conjunction with the acoustic instrument. While some may place Gluck within the context of the avant garde, following in the tradition of Cecil Taylor, Sun Ra, Andrew Hill, Paul Bley and Don Pullen, his music reveals an abiding affection towards the more pastoral and pensive aspects of impressionism and late romanticism. His approach as a pianist, composer and improviser is one that intuitively merges intuition with a broad sonic palate where lyricism and abstraction find a shared home.

"Returning" opens with Gluck’s lilting composition “Lifeline.” Here, the tune receives a very different treatment from its previous appearance on "Something Quiet." Gluck’s pensive piano solo expands into a tumultuous display of virtuosity, answered by Bisio’s meditative bass explorations, which call forth a sparkling array of colors from the entire ensemble.

The title track “Returning” bounces with delight and rhythmic fervor spiced by drummer Dean Sharp’s panoply of sizzling percussive timbres. Michael Bisio’s imaginative exploration of the opening motif leads to a surprising elegiac meditation on bowed bass. The mood again shifts as Gluck shows how angular playing can swing. A quiet, reflective bass and piano coda closes the performance.

“Time” provides a brief, wild and explosive interlude before the deceptively simple “That’s All You Got.” After the statement of the melody to “That’s All’s”, a rhythmic bridge leads into a series of solos flying high above a rising bass motif that calls to mind Joe Zawinul’s “Birdland.” After teasing the listener with blues inflection, Gluck’s solo builds an increasingly abstract intensity. Bisio’s inventive discourse upon the motif leads then segues to an example of the band’s signature interplay, capped by an expansive drum solo.

The opening plaintive melody of “By a Field” leads to a declamatory musical figure. Gluck follows with dramatic open fifths upon which he crafts a fiery, extended solo. “There’s No There There” provides some musical levity, befitting the song’s title. All three solos locate the middle path sought by Gluck to connect a multiplicity of sensibilities into a single, unified conception.

“Vertigal” is a sectional work. Like “October Song” on Gluck’s "Something Quiet," this composition invokes the formal structures of Herbie Hancock’s “Sleeping Giant” suite from the Mwandishi album "Crossings." Hancock’s band is the subject of Gluck’s forthcoming book “You’ll Know When You Get There: Herbie Hancock and the Mwandishi Band” (University of Chicago Press). The trio crafts an intricately interwoven fabric of musical collaboration, tracing “Vertigal”’s many moods and levels of intensity.

Why does the spontaneous improvisation ”Something Quiet” close this recording rather than Gluck’s previous recording by the same name? Gluck explains that the choice was quite serendipitous. “After we finished recording the planned tunes, studio engineer Will Schillinger asked whether I had what I wanted. After returning from a brief walk in the woods surrounding the studio, I suggested that we improvise something “quiet.” The fragile improvisation that resulted represents my mood on that particular day, as well as the broad expressive range of this unusual trio. The overall tenor of the previous recording, however, struck me as indeed “something quiet.”

Artist Websites: http://www.electricsongs.com
Label Website: http://www.fmr-records.com/