October/November 2004
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Tim Holek
Martha Reeves was arguably the most talented singer in the Motown camp back in the 1960s. She was able to sing R&B, jazz, gospel, and even rock and roll with ease. As the leader of the Vandellas (who she actually had to pay out of her own salary during their heyday), Reeves recorded some songs familiar to anyone with even a passing interest in Rhythm & Blues. Songs like “Jimmy Mack,” “Heat Wave,” “Dancin’ In The Streets," “Honey Chile,” and “Nowhere To Run” have been covered by countless artists, but none came close to the originals. Unfortunately, she wasn’t Diana Ross, so her career was put on the backburner by label owner Berry Gordy (like so much of the Motown female talent of the ’60s in favor of the Supremes), and more or less withered on the vine after her early run of hits for the label. Despite not making the move with Motown from Detroit to L.A., Reeves never stopped performing, mostly on the oldies circuit for most of the past 20 years. As she once stated, “I certainly didn’t go to Motown to learn how to sing and I didn’t leave there in need of knowing how to.” Now, she proves it with a brand new release, Home To You (Itch Records), that shows not only that she hasn’t lost a step, but that’s she better than before. The disc is a mixture of blues and some contemporary R&B sounds. The opener, “Watch Your Back,” is a catchy shuffle that sounds like it could have come from Malaco Records and should get some airplay on a lot of the Southern blues stations, if there's any justice in the world. Reeves had a hand in writing most of the songs (the lone exceptions being a tasty cover of “Jimmy Mack” and a moving rendition of Billie Holiday’s classic, “God Bless The Child”) and she covers modern themes of being in love, falling in love, and falling out of love from a mature point of view. Her voice sounds great and if you’re a fan of Southern soul music or Motown, you should track this one down. The Joe Richardson
Express has released three great CDs since 2000, but their fourth
may be their best yet. Aptly titled, Non Stop (Jamey Slane
Records) rocks from start to finish. Richardson’s guitar work (electric,
slide, acoustic, and even saw on the opening track, “Welcome to Generica“)
is as inspired and dynamic as ever, but this is his best effort so far
on vocals. Richardson also wrote all the tracks on Non Stop,
which includes some real keepers. The aforementioned “Welcome to
Generica” is a lament about the lack of individualism in the country
these day. The smoldering “Midnight Fever” features one of Richardson’s
best vocals and would be a hit in a perfect world. Richardson’s guitar
is a highlight on several other tunes, like “Oh My Baby,” “Hear ‘um
Cryin’,” “Longview Texas,” and “Backyard Revolution.” The Express rhythm
section (Richard Lamm on drums, John Wolfe on bass) does their usual
excellent job throughout the disc, even getting a few seconds to shine
at the opening of “The Weatherman” before Richardson’s guitar eventually
sends the song soaring into the stratosphere. Non Stop is a
thrilling ride from start to finish, with some of the best guitar put to
disc so far this year, as well as great and sometimes thought-provoking
lyrics. If you haven’t experienced The Joe Richardson Express by now,
this is a great opportunity to jump on board. The CD is available from
www.cdbaby.com. --- Graham Clarke Dim the lights, light some candles, find someone dear to your heart to snuggle up with, and play them Maria Muldaur’s, Love Wants To Dance (Telarc), which is probably the most romantic album cut in the last 20 years or so. This is a GORGEOUS --- and I do mean GORGEOUS --- collection of ten love songs beautifully presented by one of the smoothest vocalists in the blues today, and done so slickly they will make you slide off your seat. Muldaur picks up right where she left off on last year’s sensational, A Woman Alone With The Blues... Remembering Peggy Lee (reviewed in BluesBytes in July 2003). In her very brief liner notes, Maria states that this record could serve as the soundtrack to a romantic tropical vacation, as it deals with the various aspects of love, such as intimate moments of, longing for, invitation to, mourning lost and in general celebrating. “The Lies Of Handsome Men” starts things off on a mellow note, with a gorgeous arrangement highlighted by Danny Caron’s lush guitar picking, surrounding a tale of self-deceptive awareness that is acceptable because of the benefits to be reaped. Punching things up with a bit of a jazzy beat is a bright cover of Benny Goodman’s “If Dreams Come True.” Muldaur’s warbling vocals are immensely sweet on this number, and are offset handsomely by the swinging violin of Joe Craven for this story of wishful longing. Paul Williams’ “Love Dance” is in actuality the title track that grooves to slow samba-ish back beat for seven plus minutes while Maria seduces you with her silky crooning, and the sexy sax of Jim Rothermel lulls you into a state of total relaxation. Personally, this piece turns me into putty every time I hear it, and is the showpiece of this record. Continuing in the same mood is a splendid rendition of Blossom Dearie’s “Isn’t That The Thing To Do,” that can be best described as an exploration in sensuality as Maria’s vocals on this piece coupled with Caron’s moody stylings will just plain melt you. Is there anything more romantic than moonlight? Probably not, and Muldaur explores both sides of the coin first with Bob Dylan’s “Moonlight,” which came as a bit of a surprise but works famously with a slight retro ’40s swing feel to it, and a few pedal steel licks that work flawlessly on this number that has a devilish playful naughty tone about it. “Lonely Moon” delves into the heartbreak side of things with its story of yearning that passes through your soul via Muldaur’s convincing vocals. Taj Mahal’s lighthearted ”Baby You’re My Destiny” cooks along to a pleasant ragtime rhythm, with Maria chirping the happy lyrics before she turns the blues diva loose for a righteous cover of Harold Arlen’s “I’ve Gotta Right To Sing The Blues.” This lovely work wraps up with “Everyday’s A New Day,” a mid-tempo reggae-influenced number that leaves you wishing this album was longer. Just due surely needs to be given to the rest of the players who contributed their talents, in addition to those aforementioned. The alluring piano lines are provided by Chris Burns, while Seward McCain and Lance Dresser complete the rhythm section on bass and drums, respectively. Overall this record doesn’t miss a trick anywhere. It’s beautifully produced and performed by a journeywoman who is consistently fresh in her approach. So whether or not you are currently in love with someone, Love Wants To Dance should find its way into your collection. Label this one a “don’t miss it.” --- Steve Hinrichsen
Idem Home Video's Swing Era DVD series distributed through Music Video Distributors continues with new titles released in July and August. This excellent, entertaining series adds several new chapters. As I have said before, these are typically titled after one artist, but they often contain as many as a half-dozen different jazz greats and the focus is more on big band and jazz vocalists than the title would suggest. Often these added, non-title artists are more obscure and rarely seen on DVD releases, so I will try to draw attention to those as they are more of interest to collectors... The Dizzy Gillespie DVD for Jivin' in Be-Bop is a post-WW II concert film when Dizzy's big band included John Lewis (piano), Milt Jackson (vibes) and Ray Brown (bass). This is a variety show format that loses nothing in the absence of the MC presentations. Songs include "Salt Peanuts," "Shaw 'Nuff" and more… The Stan Kenton DVD features his classically influenced big band music ("Reed Rapture," etc.) in the setting of a funny film about an expansive, pre-Internet jukebox network where some overwhelmed ladies play each request disc back at HQ. This DVD includes soundies from Charlie Barnet, Les Brown and Claude Thornhill… While the Duke Ellington entry In Hollywood features the widely available Black and Tan (1929) medium-length film, there are altogether eight short and medium-length films with an interesting, detailed look into the vinyl record manufacturing process… Of course, The King of Swing, Benny Goodman gets a Swing Era entry, but this could just as much be said to be an Artie Shaw DVD. Shaw's overview of the big band is the classic jazz answer to Britten's "Young Person's Guide to the Orchestra." This DVD also includes Jimmy Dorsey, Hoagy Carmichael and Jack Teagarden soundies... Before Aretha Franklin had the title "Queen of the Blues," this was bestowed upon Dinah Washington. Her Swing Era is an overview of female jazz vocalists including Martha Davis ("Vipity Vop," etc.), Ruth Brown ("Mama, He Treats Your Daughter Mean," etc.), Faye Adams, Dorothy Dandridge ("Zoot Suit," etc.), Sister Rosetta Tharpe, Mabel Lee, June Richmond, Vanita Smythe ("They Raided the Joint") and Edna Mae Harris… Count Basie Swing Era also has Fats Waller, Louis Armstrong, Joe Turner, Henry "Red" Allen, Gene Krupa, Lucky Millinder and Bill "Bojangles" Robinson… George Shearing Swing Era has Mel Tormé, Slam Stewart Trio, Slim Gaillard, The Bob Cats, Ralph Flanagan and Tony Pastor. Subtitled 'Duke Ellington for Solo Guitar, Vol. 2.', Steve Hancoff's The Single Petal Of A Rose (Out of Time Music) is the second excellent odyssey of the Ellington oeuvre Hancoff has made with the acoustic guitar. Hancoff has gotten right into Ellington's works and reincarnated them from the inside out as elegant guitar pieces. This collection spans the chronological spectrum of Duke's work from early 1920's material ("The Creeper", "Goin' to Town") to the darker realm of grieving over the loss of his mother in the 1935 and thereafter ("I'm in Another World", "Gypsy Without a Song", etc.) and onto the final period 1951-1974 when trends left Ellington and Ellington turned to serious composition ("Serious Serenade," "Isfahan," etc.). The CD of beautiful instrumental guitar comes with a thick booklet of photographs and notes on the origins of each of the 18 pieces presented. Interestingly, Hancoff never felt it necessary to record any of the obvious choice. Such Ellington hits as "Sophisticated Lady," "In a Sentimental Mood," and "Take the 'A' Train" are not found on either album. --- Tom Schulte
One can do no better than to quote liner notes to introduce
the collection from Lucille Bogan, Shave 'Em Dry
(Columbia/Legacy Records) –
"Was Lucille Bogan really the tough, coke-snorting, lesbian hooker she
portrayed? Or was she simply a convincing actress, playing the romantic
part of an outlaw … At any rate, it was a stance, real or imagined, that
allowed her a measure of independence from her feudal surroundings and,
at least theoretically, made her less answerable to white authority in
1930s Alabama."
These 20 sides, recorded 1933-1935, are as frankly bawdy as anything
ever released, even in the blues. The centerpiece, "Shave ‘Em Dry,"
Critics have to read a lot of liner notes, and most of them are annoying. I hate it when local players and friends thank me for support in the same paragraph in which they thank God for one thing or another. The Old Bearded Yid in the Sky and I aren’t close. Liner notes for Rod Price's West Four (Trillium Records), however, are as potent a calling card for the next song as the last song, and that’s saying a lot. Reading Mr. Price’s "Special Thanks" section and brief explanation of inspiration, one immediately acquires a warm respect for him. Listening to West Four’s ten originals and two covers thereafter amplifies that respect into reverence. Rod Price is a slide guitarist, you see, and slide’s a bit restricted, always in danger of sounding, as my sound engineer/guitarist roommate summed it, "samey." Slicing through layers of blues, gospel, rockabilly and soul, this is not "samey." Okay, it is "samey" in that every song seems to use the same amp set- up, but it takes a while to get tired of beautifully articulated intensity. In fairness, Price does switch from electric to acoustic slide a few times here, and the fact that exactly half the cuts feature his vocals lends unarguable, if simple, variety. "Chicago Suite" is hypnotic as Bach fugues can be hypnotic. His singing’s a bit off, from a technical standpoint, but not necessarily from a listener’s standpoint. Again, he’s warm, and he’s singing to his loved ones, not to a microphone. A local vocal comparison from here in Wilmington, North Carolina is Tom Blake, of Tommy B and the Stingers … it is undeniably a pleasure, but one cannot explain exactly why. I’d buy this one and be damn glad I did. I have a feeling that Duffy Bishop is always "on," that she never leaves that vulgar, outrageous stage persona. To sum same up, this is what Janis Joplin could have been had she had a better band, more physical beauty and fewer vices. Duffy Bishop’s been at it in the Northwest for a long time now, polishing a set list Janis Joplin would have loved. She’s a road warrior who’s been through a few fads and phases over the years, and now she’s right in the middle of naughty, novelty R & B with an ideal backing band. Please, Ms. Bishop, stay here! Ooh Wee (Trillium Records) is a cool release, busy keyboards, thumping bass, drums beaten like baby seals, extremely good and well arranged backing vocals and Brian Setzer-esque hollow body electric guitar copping tenor sax licks give this whole release a genuine R & B sound that trapeze- walks right on the edge of rock without ever quite falling into it, and that’s heap plenty exciting. 15 songs, absolutely no excess fat.
My Kind of Evil (Northern Blues Music )
from JW-Jones Blues Band is slick, California swing blues by way of Canada.
A big, tight horn
section is a strong subset of the rhythm section, as in the familiar
Memphis blues of B.B. King and Bobby Bland, but the drums are louder and
more important. There’s a lot of this stuff out there right now.
So what, other than Canadian origin, is special about this release? --- Arthur Shuey |
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