CHICK COREA'S 70th BIRTHDAY BLOWOUT - the Jazz & Blues ...

November, 2011Issue 338jazz&bluesreportnow in our 37th yearPhoto by Martin PhilbeyCHICK COREA’S70th BIRTHDAY BLOWOUTNovember 2011 • Issue 338

Editor & FounderBill WahlCHICK COREA’S70th BIRTHDAYBLOWOUTLayout & Design Bill WahlOperations Jim MartinPilar MartinContributorsMichael Braxton, Mark Cole, KellyFerjutz, Nancy Ann Lee, Peanuts,Matt Simpson, Wanda Simpson, MarkSmith, Dave Sunde, Joerg Unger,Duane Verh, Emily Wahl and RonWeinstock.Check out our constantly updatedwebsite. Now you can search forCD Reviews by artists, titles, recordlabels, keyword or JBR Writers. 15years of reviews are up and we’ll begoing all the way back to 1974.Comments...billwahl@ jazz-blues.comWeb www.jazz-blues.comCopyright © 2011 Jazz & Blues ReportNo portion of this publication may be reproducedwithout written permission fromthe publisher. All rights Reserved.Founded in Buffalo New York in March of1974; began in Cleveland edition in Aprilof 1978. Now this global e-zine edition isposted online monthlyat www.jazz-blues.comPage Twowww.jazz-blues.com“Buffalonious”Our originalmascot from thevery earlyBuffalo Jazz Reportdays – mid ‘70s.He is older now,but global &still very cool!NEW YORK – The incomparableChick Corea, known for his genredefyingbrilliance, captures theevolution of his adventurous musiccareer with a month-long 70thbirthday celebration at New York’sBlue Note, featuring ten differentstar-studded lineups in more thanforty performances.Fresh off a 70-city, multi-continentaltour with Return to Forever IV,Corea returns to Greenwich Villagefifty years after his debut on theNYC scene, bringing along a dizzyingslate of guests, all of whom havebeen integral players in his legendarycareer:• Return to Forever Unplugged(Clarke, White, Gambale)• Original Elektric Band (Patitucci,Marienthal, Weckl, Gambale)• Herbie Hancock• Bobby McFerrin• Five Peace Band (McLaughlin,Patitucci, Garrett, Blade)• Gar y Bur ton with HarlemString Quartet From Miles (Gomez,DeJohnette, Roney, Bartz)• Marcus Roberts• Gary Peacock & Paul MotianNovember 2011 • Issue 338Photo by Martin PhilbeyAt New York’s Blue Note Blowout, November 1-27Trio• Chick Corea’s Flamenco Heart(Josele, Benavent, Pardo, Ballard,Buika)Chick Corea & his various guestswill be performing at the Blue Note,131 W. 3rd St, New York, fromNovember November 1 throughNovember 27 with 2 shows nightlyat 8pm and 10:30pm.TICKETS: $45 - $85, availableat http://See the full schedule and gettickets here: http://chickcorea.com/blue-note- nov-2011A “keyboard giant” and 17-timeGrammy winner, Corea remainsrelentlessly creative as a composerand performer and is more prolificthan ever. In 2011, his most productiveyear yet, he held a gala performanceof his compositions withthe Lincoln Center Jazz Orchestra,released three new albums, recordedhis second concerto (due out early2012), and reassembled his supergroupReturn to Forever IV for thebiggest jazz tour of the year.Fifty years ago, Chick arrived inNew York City and embarked uponhis legendary career as one of the

great jazz pianists, composers and bandleaders of ourtime. And he amassed quite a few friends along theway.Now he’s back. With friends. And in a big way.Chick celebrated his 60th birthday with a sold-outthree-week stint at the Blue Note jazz club in NYC.Every moment was filmed and recorded as the Rendezvousin New York project and the CD went on togarner a Grammy award.So how does a jazz legend top that for his 70thbirthday?By playing with 10 different bands over 4 gloriousweeks throughout November. Where it all began — atthe Blue Note, NYC.10 Bands Performing with Chick:Return to Forever Unplugged – Nov. 1 & 2Featuring Chick, Stanley Clarke, Lenny White andFrank Gambale (fresh from their hugely successfullyworld tour with Return to Forever IV).Chick Corea Trio with Gary Peacock – Nov. 3For one night only! Corea pairs with Gary Peacock,the brilliant bassist in Keith Jarrett’s “standards” trioand long time friend and collaborator with Chick.Five Peace Band – Nov. 4, 5 & 6Three nights with guitar legend John McLaughlin& the Five Peace Band, also featuring Kenny Garrett,John Patitucci and Brian Blade. Having RTF and JohnMcLaughlin on the bill in the same week is like seeingthe Beatles & Stones of jazz/rock fusion. The band’sCD titled Five Peace Band Live won the 2010 Best JazzInstrumental Album Grammy award.Chick Corea & Bobby McFerrin Duet – Nov. 8, 9& 10Week two kicks off with the storied duet of Chickand Bobby McFerrin. They have recorded two albumsof far-reaching jazz and classical music. Their musicalchemistry is legendary — a high-wire act without a net.Also look for some special guests to join them.Chick Corea & Gary Burton with the Harlem StringQuartet – Nov. 11, 12 & 13Next up is a true first for the Blue Note: Chick Corea& Gary Burton welcome the Harlem String Quartet,playing a preview of their upcoming CD Hot House(release date: February 2012). With this arrangement,Corea & Burton are pioneering a new sound: chamberjazz.From Miles – Nov. 15, 16 & 17Miles Davis debuted many of the biggest names injazz in his own bands. Here Chick assembles a quintetof them: Eddie Gomez, Jack DeJohnette, WallaceRoney and Gary Bartz. They’ll be exploring the musicof the master and their own expansive sound. Corea &DeJohnette’s history with Miles stretches back to theseminal Bitches Brew sessions.Chick’s Flamenco Heart – Nov. 18, 19 & 20Passionate, fiery and soulful, the top Flamencoand Spanish jazz artists meld with Chick for 3 nights:Latin superstar Concha Buika, the African-InspiredFlamenco singer who sold out New York’s Town Hall;Pa g e Th r e eNovember 2011 • Issue 338flamenco legends guitarist Nino Josele, bassist CarlesBenavent and flautist Jorge Pardo (all veterans of PacoDe Lucia’s band); and one of Spain’s most in-demanddrummers, Jeff Ballard (who moved to the country tobe immersed in his love of Spanish/Flamenco rhythms).Appropriately dubbed Chick’s Flamenco Heart, this isan extension of Chick’s landmark album My SpanishHeart and his most famous composition— Spain.Chick Corea & Marcus Roberts Piano Duet – Nov. 22Marcus Roberts joins Chick for one night only.Roberts, a longtime partner of Wynton Marsalis andJazz at Lincoln Center, has mastered every style ofjazz piano since the pre-bop era.Chick Corea & Herbie Hancock Duet – Nov. 23One night only! An unbelievable must-see show:Chick Corea and Herbie Hancock, piano duet. In 1978,at the height of electric jazz, Corea & Hancock shockedthe jazz world by touring as an acoustic piano duet.Since that legendary pairing, their collaborations havebeen extremely rare.Chick Corea Elektric Band – Nov. 25, 26 & 27Chick wraps up the month with the original ElektricBand: Eric Marienthal, Frank Gambale, John Patitucciand Dave Weckl. This is the lineup that defined thesound of electric jazz in the 1980s, with a series ofmasterpieces including Light Years and Eye of theBeholder.Fly, drive or walk — just get yourself to New Yorkand be part of this historic party. Again, the website tovisit is www.chickcorea.com/blue-note-nov-2011 .LIKE JAZZ & BLUES PHOTOS?This photo of Gary Bartz captured byRon Weinstock at the 2008 Duke Ellington Jazz Festivalis just one of hundreds of Ron’s photosyou can view onlineat www.flickr.com/photos/novaron

Dead), King Sunny Ade, Tina Weymouth (Talking Heads,Tom Tom Club), Zakir Hussain (Shakti, Masters of Percussion),Lenny White (Miles Davis, Return to Forever),Bill Summers (Herbie Hancock and The Head Hunters),Derek Trucks (Allman Brothers Band), Peter Asher andmany more.Spain hosted their first professional jazz festival in1966, it began with a concert at the historic Palau dela Música in Barcelona featuring pianist Dave Brubeckwith his classical quartet. Despite surviving the turbulenttimes of the Franco dictatorship, the festival ceasedoperations in 1977 and 1980, which ironically werethe first years of a democratic Spain. Since the late‘80s, the festival has been organized by The Project,a year round presenting organization whose effortsreach upwards of 300,000 people annually. The Projectwas founded in 1988 by producer Tito Ramoneda, whotoday serves as the organization’s president. In 2011,the festival celebrates its 43rd edition with around 400musicians, again making the Barcelona Jazz Festivalone of the largest and most ambitious jazz festivals inEurope.For a complete schedule of events, please visit:www.barcelonajazzfestival.com/www.barcelonajazzfestival.blogspot.com/The Annual Jazz Party At SeaNovember 4 - 11, 2012The Annual Jazz Party At Sea is pleased to announcethe lineup for the 12th Annual departure, November4 - 11, 2012. We will set sail from New Orleansfor 7 nights aboard Norwegian Cruise Line’s m/s NorwegianStar visiting Costa Maya, Belize City, Roatanand Cozumel.with Harold Mabern, Nat Reeves and Joe Farnsworth,Steve Turre, Lynne Arrial trio with Omer Avital andAnthony Pinciotti, Everett Greene, The Winard HarperSeptet with Roy Assaf, Stephen Porter, Michael Dease,Bruce Harris, Jovan Alexandre and Alioune Faye, WilliePickens, Larry Gray, Paul Wertico and Stu Katz.More artists will be announced shortly.In addition to this jazz extravaganza aboard ship,there will be a pre-cruise jazz package offered in NewOrleans, choose from 1, 2 or 3 nights.Cruise fares include 7 night cruise with choice oftime and restaurant for all meals, entrance to all jazzconcerts, parties, rap sessions and events, all customaryship programs and activities, pre-paid gratuities toshipboard personnel, port charges, government taxesand fees. Fares begin at $1239 per person based ondouble occupancy.Norwegian StarThis private party is sponsored by the Annual JazzParty At Sea Consortium; Jazz Club At Sea (US), ChanceryCruising (UK), and PS Tours (DE). Those personsbooking directly with NCL, the internet or elsewhere willnot be admitted to these events.For bookings contact Jazz Club At Sea, 800-433-0493 or email jcas@ajpas.comPa g e Fi v eThe Heath Bros. from last year’s cruiseFeatured artists include Renee Rosnes Quartet withPeter Washington, Lewis Nash and Steve Wilson, TheJudy Carmichael Trio with Harry Allen and Chris Flory,Bill Charlap, Paulinho Garcia, Eric Alexander QuartetNovember 2011 • Issue 338Alfred Music Publishing OffersDigital Sheet Music App for iPadLOS ANGELES – Alfred Music Publishing, the officialprint music publisher of thousands of popular artists,has released the Total Sheet Music App, a new app forthe iPad® that instantly delivers hundreds of popularsheet music titles in digital form to tablet device usersworldwide.The Total Sheet Music App allows musicians tobrowse, purchase, and view sheet music on their mobiledevices to play their favorite pop, rock, country or jazzstandards from artists like Green Day, Led Zeppelin,Katy Perry, Van Halen, Garth Brooks, Carrie Underwood,Tony Bennett, Frank Sinatra, George and Ira Gershwin,and many more. Also available are favorite tunes fromBroadway, movies, and TV hits, including The Wizardof Oz, My Fair Lady, The Flintstones, Star Wars, Harry

Potter, and The Lord of the Rings.Sheet music titlesfor the app are available in various arrangement types,including piano/vocal/chords, lead sheets, guitar tablature(Guitar Tab, Authentic Guitar Tab, Easy Guitar Tab), andmore. Over a dozen free songs are available immediatelyupon downloading the app.The Total Sheet Music App is powered by the AC-CESSTM Digital Publishing Ecosystem by ACCESSSystems Americas, Inc. It is a complete end-to-endsystem that also includes formatting of the sheet musictitles for tablet devices, a digital storefront for browsingand purchasing them, and a virtual bookshelf for organizingand viewing the sheet music titles on tablets.Toview a video demo of the app, click here: http://vimeo.com/22102809 “All too often, we’re hearing peopleask for a way to instantly get the sheet music to theirfavorite songs wherever they go,” said Doug Fraser,Alfred’s Director of Digital Sales. “The app gives anyuser of these mobile devices immediate access to anenormous library of songs—it’s a powerful tool for learningand playing.”“Alfred is leading the music publishing industryinto its next evolution with the launch of the Total SheetMusic application for the Apple iPad,” said Ivan Dwyer,Head of Digital Publishing Market Development andContent Alliances, ACCESS. “Consumers are rapidlyembracing digital media, and musicians of all skill levelswill now be able to organize and interact with theirsheet music on mobile and tablet devices, just as theywould listen to music, watch videos or read books.TheTotal Sheet Music App was developed as an extensionof totalsheetmusic.com, a service from Alfred MusicPublishing that offers hassle-free, legal sheet musicdownloads that can be printed instantly. Alfred’s printand digital catalog combined contains 85,000 titles fromthousands of popular artists, Broadway shows, films, andTV shows.The Total Sheet Music App is now availableat the App Store: itunes.com. The app will be availableon Android tablets later in the year.For more information on Total Sheet Music, visittotalsheetmusic.com. To learn more about Alfred MusicPublishing, please visit alfred.com.ABOUT ALFREDMUSIC PUBLISHINGAlfred Music Publishing is theworld’s largest educational music publisher. Alfred produceseducational, reference, pop, and performancematerials for teachers, students, professionals, andhobbyists spanning every musical instrument, style,and difficulty level. Alfred’s home office is located in LosAngeles, with domestic offices in Miami and New Yorkas well as offices around the world including Australia,Germany, Singapore, and the United Kingdom.Since1922, Alfred Music Publishing has been dedicated tohelping people learn, teach, and play music.Alfred currently has over 90,000 active titles. Alfredrepresents a wide range of well-known publications—from methods like Alfred’s Basic Guitar, Alfred’s BasicPiano Library, Premier Piano Course, Sound Innovations,and Suzuki, to artists like Led Zeppelin, TheRolling Stones, Bruce Springsteen, Van Halen, GreenNovember 2011 • Issue 338Day, Michael Jackson, Sheryl Crow, Eagles, Cole Porter,and George and Ira Gershwin, to brands like Star Wars,Harry Potter, Lord of the Rings, Rolling Stone Magazine,and Billboard.In addition to its own titles, Alfreddistributes products from over 50 companies, includingBelwin, Daisy Rock Girl Guitars, Dover Publications, DWDrums, Faber Music, Highland/Etling, Kalmus, NationalGuitar Workshop, Penguin, TASCAM, Ultimate Support,and WEA.Frank Driggs appreciationOn September 18, 2011, the New York Times publishedan obituary of country singer Wilma Lee Cooper.Accompanying that obituary was a picture of her withher late husband Stoney, with a credit to “Frank DriggsCollection.” Ironically Driggs himself passed away acouple days later. As I type this on September 25, all Ihave seen about the late jazz historian, scholar and archivisthas been a somewhat brief AP obituary noting hisremarkable collection of jazz, blues and other Americanmusic photographs and memorabilia, noting the booktaken from his collection “Black Beauty, White Heat: APictorial History of Classic Jazz, 1920-1950,” and thathe won a Grammy for producing the reissue of “RobertJohnson: The Complete Recordings.”The Wikipedia entry for Driggs and the obituariesnote that he became enamored with jazz and swinglistening to radio broadcasts in the late 1930s. He graduatedPrinceton in 1952 and then joined Marshall Stearnsat the Rutgers University based Institute of Jazz Studieswhere he began his documentation of jazz. Later JohnHammond recruited him to Columbia Records where heproduced a number of important reissues of jazz andblues including the highly influential “King of the DeltaBlues Singers,” the first album compilation of RobertJohnson’s recordings and “A Study in Frustration,” theimportant box set devoted to the great Big Band leader,arranger, and composer, Fletcher Henderson. He wouldalso produce reissues of Duke Ellington (which accordingto jazz historian Ashley Kahn was the inspiration forSteely Dan’s recording of East St. Louis Toodle-Oo),Billie Holiday and many others and in the 1970s revivedthe Bluebird label for Victor to reissue their many classicblues, jazz and other music.His archive of photos, lyric sheets, newspaper clippingsand other memorabilia grew to approximately100,000 items and credits to the Frank Driggs collectioncan be found in numerous books on jazz, blues and otherAmerican musical idioms. On his blog, jazz journalistChuck Ramsey noted his use of several photos fromDriggs’ collection in his biography of Paul Desmond. TheDriggs collection was the single largest source of suchmaterial used for the Ken Burns PBS series on Jazz.“Black Beauty, White Heat” is simply a marveloussampling from his collection. In addition to that volume,he also co-authored with Chuck Haddix, “Kansas CityJazz: From Ragtime to Bebop--A History,” which is cur-Pa g e Six

ently the definitive study of Kansas City jazz that wasso important in the development of jazz, and from whichCount Basie, Hot Lips Page, Lester Young, Mary LouWilliams, Charlie Parker, and Jay McShann emerged.While “Black Beauty, White Heat” is today an out-of-printclassic, “Kansas City Jazz” is still in print. These books,along with the recordings he produced and his collectionof music memorabilia leave an impressive legacy.For more on Frank Driggs and the archive, see JazzMan from the September 2005 issue of SmithsonianMagazine and “… And All That Jazz Memorabilia” fromthe March 1, 2005 New York Times. And here is the NewYork Times obituary.Ron WeinstockCotton- Giant, Readers- Buddy Guy- Living Proof; BestHarmonica- Critics- James Cotton, Readers- CharlieMusselwhite; Blues artist of the year- female- Critics-Mavis Staples, Readers- Marcia Ball. Here are a fewof the other critic’s picks- Bass player of the year- BogStoger; Best drummer- Kenny Smith; Best keyboards-Pinetop Perkins; Best Guitar- Lurrie Bell; Best LivePerformer- Li’ Ed & The Blues Imperials; New Recordings/SouthernSoul- Denise LaSalle- 24 Hour Woman;New Recordings/Best Debut- James Kind- Love YouFrom the Top; New Recordings/traditional acoustic- EricBibb- Booker’s Guitar; New Recordings- Kenny Neal-Hooked On Your Love; Historical Recording- JuniorWells- Live in Boston 1966…. That’s it for this month.See ya! MarkPa g e Se v e nBY MARK SMITHAh, the crisp smell of fall and the glorious cascadeof colors. Time to load up your car’s cd player withsome new blues discs and hit the road for a color tour.Here’s the soundtrack to your weekend drive: WyntonMarsalis and Eric Clapton-Live From Jazz at LincolnCenter; Steve Cropper- Dedicated; Ana Popovich-Unconditional; Kenny Wayne Shepherd- How I Go;Johnny Winter- Roots; Jimmie Vaughan- Plays MoreBlues, Ballads & Favorites; Keb Mo- The Reflection;Joe Bonamassa and Beth Hart- Don’t Explain; Moreland& Arbuckle- Just a Dream; Duke Robillard- LowDown & Tore Up; Chris Rea- Santo Spirito Blues; EricGales- Transformation; Ray Bonneville- Bad Man’sBlood; Eric Sardinas and Big Motor- Sticks and Stones;Nick Gravenites and John Cipollin- Monkey Medicine;Maria Muldaur- Steady Love; Etta James- Her Best-TheChess 50 th Anniversary Collection; Ms. Jody- Ms Jody’sin the House; Fred McDowell-Alan Lomax Recordings;Carolyn Wonderland- Peace Meal; Dani Wilde- Shine;Sena Ehrhardt-Leave The Light On; The Sean ChambersBand-Live From the Long Island Blues Warehouse;Louisiana Red & Little Victor’s Juke Joint- MemphisMojo; Various Artists- Barbecue Any Old Time: BlueFrom the Pit 1927-1942; Terry Hanck- Look Out!; LaurieMorvan Band- Breathe Deep; Barry Levenson- TheLate Show; Whiteboy James and the Blues Express-Extreme Makeover; Steve Gerard & The National Debonaires-Voodoo Workin’; Jt Coldfire- Crazy Sun; MarkT. Small- Blacks, White & The Blues; Julius Pitman &The Revival - Live Tonight; Shane Dwight- A HundredWhite Lies; JJ Grey & Mofro- Brighter Days…AwardTime Blues… The Grammy’s® are over. The BluesMusic Awards are history. But, fear not, there is one lastset of award to report this year: Living Blues Magazinehas announced its annual critics and listener awards.Check out Issue 21, Vol. 42 # 4 for the full list. Here’ssome of the highlights- Album of the Year-Critics-JamesNovember 2011 • Issue 338Issues, Special Issues,Back Issues andThousands ofCD & DVD Reviews& More Cool Stuff In The Works!www.jazz-blues.com

November 2011 • Issue 338Pa g e Ei g ht

We only bring youthe Cream of the Crop!guitar and Corritore wailing on harp. “I Had TroublesAll My Life” may have been done by Red before, butis strongly delivered as he sings about wanting to goback to Mississippi with a bit of howling. The one coveris Blind Lemon Jefferson’s “See That My Grave Is KeptClean,” with Little Victor providing atmospheric useof tremolo with his guitar helping to make an originalrendition of this standard. It is followed by the NorthMississippi Hills groove of “No More Whiskey.” “Yolanda”has Maxwell on piano and Corritore on harp fora strong Chicago styled blues. “Your Lovin’ Man” is adown home blues with Red laying down tough soundingslide, while “I’m Gettin’ Tired” has an insistent groovesuggestive of Junior Parker’s “Feelin’ Good.”“So Long, So Long,” conjures the early MuddyWaters recordings with Big Crawford on bass and LittleWalter on guitar. It perhaps is the standout track on arecording with many excellent performances. “MemphisMojo” is a superb blues recording likely to receivemany of the accolades Red’s prior disc received. Suchrecognition will be well deserved. Ron WeinstockLouisiana RedMemphis MojoRUFIverson Minter, better known as Louisiana Red,has had a distinguished recording career that datesback six decades. Red has recorded many memorablerecordings over the years, whether his challenge toMuddy Waters, “Gonna Play My Guitar;” or PlayboyFuller’s “Red’s Dream” that the legendary HenryGlover produced from a session with Tommy Tuckeron piano; or an Atco album with the late Bill Dicey onharmonica “Louisiana Red Sings the Blues;” or theBlue Labor album “Sweet Blood Call” with some verychilling vocals. Then there is the solo set, “Sittin’ HereWonderin’,” as well as “Millennium Blues,” for Earwig;and more recently “Black to the Black Bayou” on Ruf.I could cite other titles, but one should get the pointthat Louisiana Red has been laying down some stonecold, real blues killers for decades.Ruf has issued a new Louisiana Red album, “MemphisMojo,” which like the “Black Bayou” disc has himjoined with Little Victor’s Juke Joint who I presume isLittle Victor on guitar, Bill Troiani on bass and AlexPettersen on drums with appearances by Dave Maxwellon piano, Bob Corritore on harmonica, ‘The Hawk’ onmaracas and Mookie Brill on bass for several tracks.This is a solid recording in the vein of the classic Chicagoblues of Muddy Waters and Elmore James, mixedin with some North Mississippi Hill Country flavor. Red’svoice perhaps is a bit more gravelly, but the robustnessof his vocals still stands out. The backing throughoutis strong, sounding traditional yet fresh.The songs, with one exception are originals openingwith “Goodbye Blues,” with a groove evocativeof Muddy Waters’ “Louisiana Blues” set to a drivingaccompaniment with Little Victor taking the lead onPa g e Ni n eNovember 2011 • Issue 338Coleman HawkinsToday And Now / DesafinadoImpulse 2-on-1 SERIESImpulseTenor saxophonist Coleman Hawkins is one of myfavorite saxophonists for his deep breathy tones andthe two reissued albums on this single disc providepeak listening delight.On Today and Now Hawkins tags Tommy Flanagan(piano), Major Holley (bass) and Eddie Locke (drums)for a seven tune spree originally recorded in 1963(Impulse A(S) 34). Hawkins and crew are at their besthere. The set launches with Hawkins’ catchy shufflebeatoriginal, “Go Li’l Liza,” and includes tunes byQuincy Jones (“Quintessence”), David Raksin (“LoveSong From Apache”) and standards such as the bluesy“Put On Your Old Grey Bonnet” and a mid-swing takeon “Don’t Sit Under the Apple Tree.” Another Hawkinsoriginal, “Swingin’ Scotch,” is based on the changes ofa familiar Scottish ditty and best demonstrates Hawkins’chatty style. One of my favorites, containing oneof Hawkins’ best solos, is the sweet ballad “Don’t LoveMe,” composed by Bill Katz.

On Desafinado, Hawkins teams up with guitaristsBarry Galbraith and Howard Collins, bassist MajorHolley, pianist Tommy Flanagan, drummer EddieLocke and percussionist Willie Rodriguez. The 15-tuneBrazilian-jazz album was originally released as ImpulseA(S) 28 in 1963, with arrangements by Manny Albam.In addition to the title tune by Antonio Carlos Jobim,the musicians perform Jobim’s “One Note Samba,” andtunes by Joao Gilberto, Manny Albam, Jayme Silviaand others. Highlights include a major reinvention ofMort Dixon’s pop tune “I’m Looking Over A Four LeafClover” into a gentle jazz samba and a clever Latinatereinvention of Victor Schertzinger’s “I Remember You.”The laid-back, swinging finale, “Stumpy Bossa Nova,”by Hawkins remakes his original “Stumpy,” based onthe changes of “Groovin’ High.”As with each disc in this Impulse 2-on-1 seriesfeaturing prime musicians, a 12-page liner bookletincludes original album art and liner notes.Nancy Ann LeeBetty Wrights big hit “Clean Up Woman.” It’s anotherhigh point along with “Love You Still,” a bluesy duetwith Johnny Rawls. Trenchard’s “Wash Your Hands”provides a contrasting mood to the duet with Rawls, asshe sings about whether she can redeem herself froman affair she had. Wonderfully sung, with full backingand a marvelous arrangement, this track is typical ofthis release with solid material, strong backing and asinger who is thoughtful yet so soulful. Jackie Johnsonis indeed a Memphis Jewel. Ron WeinstockJackie JohnsonMemphis JewelCatfood RecordsAn old school rhythm and blues vocalist that haslong been regarded as a local treasure in Memphis,Jackie Johnson may be little known in North Americabut has established herself in Europe on her visitsthere. She sings on Huey Lewis’ recent “Soulsville”and toured with him. Years ago backed up ShirleyBrown and Barbara Carr. Church rooted, she has a newrecording “Memphis Jewel” on Catfood Record thatis produced by Jim Gaines with a band that includesCatfish Records owner, Bob Trenchard on bass andother members of The Rays.Included here are covers of songs such as theGladys Knight classic “It Should Have Been Me,” andSmokey Robinson’s classic “The Tears of a Clown”that show how expressive a vocalist she is. Her soundsuggests New Orleans Queen Irma Thomas, and sheis similarly able to lay into a lyric as well as subtlydeliver it. The band gets into a hot second line grooveon Abner Burnett’s “Brightside,” with hot Lance Keltnerslide guitar that suggests Little Feat. Here, her vocalsoars over the backing with lively piano, and the aforementionedslide guitar.“Will You Be Mine, penned with her husband, is alovely soulful ballad and is followed by a solid cover ofPa g e Te nNovember 2011 • Issue 338CHICK COREA / STEFANO BOLLANIOrvietoECMWhen listening to this 2010 concert set from Italy,one will quite likely find Stefano Bollani’s descriptionof his duets with Corea, “one piano player with fourhands”, quite reasonable. The kinetic, ambitious interplaydisplayed on these performances speaks tocommunication of a very high order.If the 70-year old Corea was a primary influenceon Bollani, who’s just approaching his 40’s, this mindmeldrelationship plays out as peer-to-peer rather thanmentor/pupil on a set that embraces Antonio CarlosJobim, Fats Waller and Miles as well as originals bythe principals. Highlights include Corea’s My SpanishHeart classic “Armando’s Rhumba”, the Waller gem“Jitterbug Waltz” and the leadoff “Orvieto ImprovisationNo. 1”. First rate.Duane VerhMary FlowerMisery LovesCompanyYellow DogT h e m a r v e l o u sblues and roots fingerstyleguitarist-vocalist,Mary Flower, has a newrelease “Misery LovesCompany” on YellowDog Records. The titlerefers to the fact thateleven of the twelve performances here are duetswith other musicians (and a vocalist) adding supportto her guitar and vocals. It is a wonderful addition to

her discography.Whether performing a blues or a rag, Flowers playswonderfully with an easy flowing approach to her music.When performing a deep Chicago blues, such asMuddy Waters’ “Hard Day Blues” or Son House’s “DeathLetter Blues,” she recasts the song into a Piedmontstyled blues, while adding her honey-toned vocals. Hervocal strikes this listener as more successful on theformer number (with Curtis Salgado adding some niceharp), although the slide guitar and guitar interplaybetween her and Alan Hager is marvelous. “RecessionRag” is a delightful instrumental duet with mandolinistBrian Oberlin, while “Jitters” is a lovely duet with tubaplayer Mark Vehrencamp with Mary channeling BlindBlake in her deft playing here.Colin Linden adds electric dobro her atmospheric“Way Down in the Bottom,” (where darkness meetsdespair), while LaRonda Steele adds a harmony vocalto Mary’s exquisite rendition of Reverend Gary Davis’“Goin’ To Sit Down On The Banks Of The River,” withan accompaniment that displays how ably she hasmastered the music of this legendary giant. Her sonJesse Withers plays bass while she displays her cleanlyarticulated slide playing on Tampa Red’s “Boogie WoogieDance,” while pianist David Frishberg adds somebop-infused piano on the delightful “I’m Dreaming OfYour Demise,” about her beady-eyed, devious man whospouts nasty lies. Mary’s music possesses some of thesame qualities that Elizabeth Cotton’s music had, so it’sno surprise that she so ably interprets “Shake Sugaree,”where Johnny B Connolly embellishes her vocal andfingerstyle wizardry with his button accordion.A solo rendition of Scrapper Blackwell’s “Scrapper’sBlues” is the last selection on her latest recording.Mary Flower continues to delight blues and roots fanswith a recording that continues to demonstrate that sheremains one of the finest fingerstyle guitarists. Also, hervocals flow as natural as her finger picking.Ron WeinstockJason Parker QuartetNo More No LessBrokentime RecordsSocial media is becoming an increasingly valuabletool for musicians of all stripes to connect withtheir audience as well as get introduced to new artists.It was through twitter that I became connectedto Seattle-based trumpeter Jason Parker. Parker hasa blog, http://oneworkingmusician.com/, and he coproduceswith trombonist David Marriott, Jr. “Jazz NowSeattle!,” a marvelous podcast devoted to Seattle’sjazz scene, http://jazznowseattle.com/. Anyway, afterfirst connecting with him on twitter, I subscribed tohis podcast and also purchased the 2009 CD by hisquartet, “No More No Less” (Brokentime Records). Hisquartet is comprised Parker, Josh Rawlings on piano,Evan Flory-Barnes on bass, and DeVonne Lewis ondrums with Cynthia Mullis on tenor sax on three of theseven selections.Parker’s “”Bashert” introduces his lyrical andthoughtful playing but the remaining songs come fromfamiliar names, but some of the compositions thoughare not too familiar. Young trumpeter, Tatum Greenblatt’s“Mance’s Dance” has a classic Blue Note vibealmost sounding like a lost Herbie Hancock composition,and introduces us to Ms. Mullins strong tenor.Duke Pearson’s “Idle Moments” is a lovely quintetwith both horns conjuring up a late night, don’t wakeup the children mood on this lovely performance, andin addition to the fine playing of the leaders, pianistRawlings is quite noteworthy here with a solo thatbuilds up from its understated opening. For some reasonParker’s playing on the opening of the quartet’srendition of “Three Hours,” by the late British icon,Nick Drake, conjures up Don Cherry in these ears, butits an evocative moody, free-sounding performance.After performances of “Love For Sale,” and Sam Rivers‘“Beatrice,” the disc closes with a marvelous interweavingof Gershwin’s “Summertime,” with WayneShorter’s “Footprints.”Listening to “No More No Less” (as well as the JazzNow Seattle! podcast) might inspire those not in Seattleto visit it to catch some of the vibrant music the cityoffers. This is available from http://oneworkingmusician.com,and one can purchase a physical CD (whichincludes a digital download). Jason’s next project willbe “Five Leaves Left: A Jazz Tribute to Nick Drake,”which he raised funds through the kickstarter website.For information on the project and how Drake’s musicinspires him check out, http://www.kickstarter.com/projects/jasonparker/nick-drake-tribute-jason-parkerquartet-five-leave.Ron WeinstockNovember 2011 • Issue 338Issues, Special Issues,Back Issues andThousands ofCD & DVD Reviews& More Cool StuffIn The Works!jazz-blues.comPa g e El e v e n

ANA POPOVICUnconditionalElecto Groove RecordsAfter five discs of straight out guitar fireworks, AnaPopovic has crafted a well rounded disc that featuresnot only her prowess on guitar but her emerging confidenceas both a writer and singer.Recorded at the Piety Street studios in New Orleansalong with some of that city’s most accomplishedplayers including Jon Cleary and David Torkanowskion keys, Sonny Landreth on slide, Calvin Turner onbass and Doug Belote on drums, Popovic dips intogospel- style call and response, Fearless Blues, rootsrock that recalls The Band’s Up On Cripple Creek,Reset Rewind, funky blues on Koko Taylor’s VoodooWoman, a rocket-fueled slide guitar duel with Landreth,Slideshow, a hard-edged cover of Nat Adderley’s jazzclassic, Work Song, and even a Maria Muldaur stylesexy pop song, Sweet Summer Rain.Mercy Walton’s oft-covered One Room CountryShack has the same slow, sinewy groove as the originalbut gets added heat from the interplay betweenCleary’s greasy organ grooves and Popovich’s flintyguitar solos.Soulful Dress which was a hit for both Sugar PieDeSanto and Marcia Ball may well have another runon the charts with Popovich’s searing guitar takingcenter stage. While Popovic’s guitar work inevitablydraws most of the attention, a listen to her lyrics revealsshe can hit just as hard with words as with her powerchords. On Business As Usual she’s unwilling to just gothrough the daily routine and leave the space betweenherself and her lover unmentioned.On Count Me In she leaves all pretention at proprietybehind and makes it known that a no stringsattached carnal romp would be just fine by her.On the other hand, she’s real clear that she’s noone’s back up plan and won’t be there to catch thefall, Your Love Ain’t Real. As the title, Unconditional,suggests, Popovich goes all in on this disc and we reapthe reward of a fine listen.Mark SmithPa g e Tw e lv ejazz-blues.comNovember 2011 • Issue 338Doug Munro and La Pompe AttackA Very Gypsy ChristmasGotMusic RecordsGuitarist Doug Munro leads a swinging quartet thatborrows from Django Reinhardt’s Quintette du Hot Clubde France style. Joining him on fresh renditions of 15familiar Christmas tunes are Ken Peplowski (clarinet),Howie Bujese (violin), Michael Goetz (bass) and ErniePugliese (guitar). Cyrille-Aimee Daudel contributesvocals on three tunes.Playing tight and clean, these masterful musiciansgive new flavor to chestnuts such as “Sleigh Ride,”“Little Town of Bethlehem,” “Let It Snow,” “SantaClaus Is Coming to Town,” “Greensleeves,” and more.Throughout, Munro shows the impressive chops thathave made him a favorite on the New York music scene.Peplowski shines in his melody head on the mid-tempoversion of “Have Yourself A Merry Little Christmas” andhis smooth improvisations on a cleverly remade andswinging “Winter Wonderland.”Munro has released 11 albums as leader since1987, as well as appearing as sideman, producer orarranger on more than 50 recordings. He has publishedover 75 original compositions and has had over 300 ofhis arrangements recorded by other artists. Munro wasDirector of the Jazz Studies Program at The Conservatoryof Music at Purchase College from 1993-2002 andcontinues to teach there as Director Emeritus.I love gypsy jazz, Django and, most of all, the cleverlyrearranged music on this disc. This is one of themost enjoyable, toe-tappin’ holiday albums to crossmy desk in recent years.Nancy Ann LeeD’Mar & GillReal Good FriendAirtightThe combinationof acoustic guitaristand vocalist Chris Gilland Derrick “D’Mar”Martin on drums andcongas is heard on“Real Good Friend”(Airtight). While at firstsight one might wonderif this duo is another in the vein of North Mississippi

Hill Country groups such as those found on lightningMalcolm’s recent recordings, they are not as heavilyrhythmical in their style as Martin embellishes Gill’svocals and guitar playing as opposed to the no-holdsbarredapproach on some recordings.Gill wrote most of the songs (the one cover is “MyBabe”) and sings with a definite warmth and plays veryadeptly, whether finger-picking or adding slide runswhile Martin’s percussion adds a swinging feel. Thesongs suggest, without evoking, the classic countryblues as on the title song where Gill opens with a spokenreference to Honeyboy Edwards and Robert Johnsonbefore his delta-flavored, slide accompaniment toa lyric about riding the rails and jump off and get tothe hobo jungle. “Maybe Baby” is built upon a deltagroove and sports nice slide, but Martin’s drummingand percussion helps this performance percolate. Henever is flashy but it always sounds like he has addedjust the right amount of syncopation.“Crawfish Boogie” is an infectious medium temposalute to the mudbugs with a catchy vocal chorus(with D’Mar adding a vocal response) and a kazoo solobefore some nice finger-picked guitar, and is followedby the jazzy sophistication of “Harmony Street” as hewhistles and displays a different side of his guitar playing.The contrast in these two performances shows howthe two are able to paint a varied musical palette here.The rest of the album is as engaging with “Tore Down”being a focused blues with a strong vocal standing out.This concludes with an instrumental, “InternationalBlues Stomp,” that matches Gill’s adroit slide playingand the duo’s refreshingly understated approach.D’Mar & Gill have provided solid performances ofinteresting and original songs. The performances of“Real Good Friend” are rooted in the blues traditionbut provide their own slant on acoustic blues and willdelight folk-blues lovers. Recommended.Ron Weinstockby a host of “A” list players including Peter Malick onguitars, Butch Norton on drums, Jeff Turmes and MartyBallou on bass and Phil Parla piano on keyboards andaccordion, Waits covers a wide swath of musical styleson this, her debut release.I’ll be Satisfied kicks things off with a sidewaysjazz twist that suggests Rickie Lee Jones without thedrama. She doesn’t stay in that groove very long beforeshe takes on the barbed wire guitar groove of YouCrossed the Line and then morphs her way into BillieHoliday’s Yesterdays which features horns that couldfit neatly into a Woody Allen period piece. Tom Waits’Get Behind the Mule is a slinky little gem while the twoRay Charles covers, Drown in My own Tears and ComeRain or Come Shine, are played under the late nighttorch when the lights are low, the drinks are runningout and everyone is weighing their options.Waits’ own The Ballad of Judith Anne is a heartfeltballad about discovering a secret side to her motherwho was murdered. Cigarettes and Coffee gives Waitsa chance to stretch her vocal chords a bit as she poursplenty of emotion into the tale of contentment at thesimple pleasure of sharing late night cigarettes andcoffee with her lover. Seeming almost out of place isthe Don Robey penned straight blues number, Motherin Law Blues which is well done despite feeling likean uninvited guest amongst the cooler jazz cats whoinhabit most of the rest of the cuts.Throughout, Waits’ voice draws you deep into thematerial with her compelling ability to be bold butlanguid at the same time. Lesser singers would simplyoverpower the material by pushing too hard. Overall,a disc of subtle, sexy charm that reveals itself overrepeated listens.This album was originally released in 2007 and hasjust be re-released on a new label. Mark SmithHOPE WAITSHope WaitsSpann RecordsSinger Hope Waits does to the blues and jazz whatthe Cowboy Junkies do to rock. Like that band, Waitsspends a good deal of her time evoking the essence of asound without playing any of the obvious notes. JoinedNovember 2011 • Issue 338Maria MuldaurSteady LoveStony Plain“Steady Love” (Stony Plain) is the new release byMaria Muldaur and finds the soulful singer backed by agroup of New Orleans musicians under the leadershipof keyboard master David Torkanowsky. In addition toTorkanowsky, the backing band is Shane Theriot onguitar, Johnny Allen on bass and Kenny Blevins ondrums, with Shannon Powell taking the drum chair onPa g e Th i rt e e n

four tracks as well as among those adding backgroundvocals with Rick Vito adding slide guitar to a track,and Jimmy Carpenter and Ian Smith add horns to thetitle track. On a cover of “Please Send Me Someone ToLove,” a band including guitarist Mighty Mike Schermeris present.Muldaur’s voice has aged and has a husky qualityand body that lends an authority to the vocals. Hervoice is certainly different from the younger singer whoprojected an innocence, yet seductiveness on “Midnightat the Oasis.” David Torkanowsky has providedsettings to enhance her vocals here. The band playsstrongly throughout and the backing vocals at timeslend a gospel flavor to some of the performances, someof which like the traditional “Done Made It In My Mind”(to serve God until I die), Rev. W. H. Brewster’s “AsAn Eagle Stirreth In her Nest,” and Stephen Bruton’s“Walk By Faith,” are spiritual in message whereas othersongs find her giving an uplifting dimension to lyricssuch as on the opening “I’ll Be Glad,” as she singsabout bad luck and suffering and being tired of livingin this world of hurt, and she will be so glad when shegets her groove back on.Then there is her nice rendition of the late BobbyCharles’ classic on backbiting so-called “friends, “WhyAre People Like That?” In contrast, she gets sassy forthe strutting groove of “Soulful Dress,” which contrastswith Greg Brown’s “Blues Go Walking” which has acountry soul feel. “Rain Down Tears” is a strong bluesperformance with an interesting melodic twist thatguitarist Arthur Adams and Will Jennings penned. “GetYou Next To Me” finds Maria singing about standing onthe corner, cell phone in her hand while wanting herman to call her number as she can’t wait until she getsher man next to her. Greg Brown also penned the titletrack with a bit more urban flavor (and a reggae feelto the rhythm).Rick Zito’s “I Am Not Alone” is another spiritualaffirmation. Zito’s marvelous slide guitar and the arrangementlend this song the tenor of an updated BlindWillie Johnson song and puts a close to this exemplaryrecording that showcases the maturity that has cometo Maria Muldaur’s performances. Recommended.Ron WeinstockMilt JacksonStatements / Jazz ‘n’ SambaImpulse 2-on-1 SeriesImpulse RecordsTwo albums by vibraphonist Milt Jackson are remasteredand reissued on this single disc, part of theImpulse 2-on-1 series featuring big-name jazz artists.Both were originally produced by Bob Thiele andoriginal album art and liner notes are included in the12-page four-color booklet.Originally released as Impluse A(S) 14 in 1962,Statements features Jackson in an enticing, smart setwith Hank Jones on piano, Paul Chambers on bass andConnie Kay on drums. Launching with the title tune,the quartet delivers a perky, swinging rendition of theIssues, Special Issues,Back Issues andThousands ofCD & DVD Reviews& More Cool Stuff In The Works!www.jazz-blues.comPa g e Fo u rt e e nNovember 2011 • Issue 338

Jackson original. They follow that with “Slowly,” abeautiful, lyrical ballad by David Raksin. Further demonstratingthe breadth of their repertoire on this set, thecrew tidily delivers the tasty number, “A Thrill Fromthe Blues.” Other tunes include Duke Ellington’s “ParisBlues,” two more originals from Jackson (“Put Off” and“A Beautiful Romance”), Sonny Rollins’ “Sonnymoonfor Two” and another Raksin original, “The Bad andThe Beautiful.” Melodious and swinging, Statementsfinds each musician in top form as the music seamlesslyshifts to the next album.Jazz ‘n’ Samba, originally released in 1964 asImpulse A(S) 70, features Jackson teamed up withJimmy Heath (tenor sax), Tommy Flanagan (piano),Barry Galbraith or Howard Collins (guitar), RichardDavis (bass), Connie Kay (drums) and Lillian Clark orJoe E. Ross (vocals). Jackson contributes “Blues ForJuanita,” “Big George,” and “Jazz Bossa Nova.” Heathis prominently featured on his original, “GingerbreadBoy,” an uptempo blues in b-flat. The Brazilian-jazz titletune by Antonio Carlos Jobim brings in guitarists andvocalist Clark (aka Mrs. Sy Oliver). One of the prettiestnumbers is the Latinate take on Cole Porter’s “I LoveYou.” Other tunes are by Manny Albam and Jack Ledru.This album tries to cover too much turf and is not quiteas satisfying as Statements. Nancy Ann LeeBILL TOMSMemphisTerraplaneLast time we checked in with this Pittsburgh-basedroots rocking troubadour, he had a live disc out withthe many sounds his band can come up with. MEM-PHIS is his new 12 song studio effort, inspired by theTennessee city and the kinds of music that walk downits streets.The quasi-title cut “I Won’t Go To Memphis NoMore,” starts things off with a bang, due to Phil Brontzsax work and “Sudden” Steve Binsberger on piano. Runa search on YouTube to see the video of the tune, it’sa good one. Many styles are mixed here in MEMPHISwith “Misery” being, for lack of a better term, funkyswamp blues, sort of Screaming Jay Hawkins on hismeds.While drummer Bernie Herr welds a solid groovethroughout the project, “Somebody Help Me” showsa touch of the Stax soul that Memphis use to be fa-that mixes in Harp with the woodwinds and brass overNovember 2011 • Issue 338Pa g e Fi f t e e nmous for while “I’m Getting Closer” goes the gospelroute. “Lord Don’t Take Me Now” sounds like a boogierefugee from an early Foghat album as harpist MarcReisman from the Iron City Houserockers guests in acouple places, most notably on “Hold On.” Closingout MEMPHIS is the only cover here, Earl King’s “Let’sMake A Better World,” which will be the next themesong if Madri Gras ever hits Memphis.My thesaurus can’t come up with a better word for“eclectic,” so it’s the best one I have to use to describethe music of Bill Toms. Something for everyone here,so jump into the pool and enjoy.PeanutsGeorge BensonWhite RabbitSony Masterworks / CTIGeorge Benson was already an established guitaristwhen he signed with Creed Taylor and CTI Records.As part of the 40th Anniversary of CTI Records, Sonyhas issued on CTI Masterworks “White Rabbit,” analbum that situated the guitar in the flamenco-tingedarrangements of Don Sebesky. The musicians on thissession included Herbie Hancock on electric piano, RonCarter on bass, Billy Cobham on drums, and Airto onpercussion. Hubert Laws was part of the larger bandand added a solo to the title track.The title track was a remarkable adaptation of theJefferson Airplane song and sets the tone to the album.The underlying groove of Grace Slick’s original lendsitself to the flamenco inspired setting as the trumpetconjures the bullring, and Benson’s guitar initiallyevokes the flamenco masters before he takes his solo.It is followed by Herbie Hancock who rips off a startlingsolo punctuated by the horns which is then followed byLaws’ solo. The rendition provides an energetic startto this recording.Of course “White Rabbit” is not the only pleasureto be heard here. “Theme From ‘Summer of 42’” providesa quieter mood as Benson states the theme withJay Berliner’s acoustic guitar helping set the moodwhile Hancock’s electric piano establishes a foundationfor Benson’s solo. “Little Train (from BachianasBrasileiras #2)” has a lively Brazilian feel with Airtoadding a wordless vocal in addition to percussion. TheMamas & The Papas’ “California Dreamin’” opens witha Flamenco flavor and a lush Sebesky arrangement

which Benson’s agile, fleet solo rides as Berliner chordingbehind him.This disc concludes with Benson’s “El Mar,” whichalso has a similar Spanish (or perhaps Moorish) flavor.It is built upon a slightly dramatic motif and apparentlywas Earl Klugh’s debut recording. Klugh plays acousticguitar here. Like the rest of the album, this is wonderfullyrecorded and remastered, so, for example, one canhear the sizzle and crackle from the drums and Airto’spercussion as well very clearly. This was recorded byRudy Van Gelder and while Van Gelder was apparentlynot involved with remastering these reissues, the clarityof the sound does justice to the wonderful music heardhere.Ron Weinstockits smiley, superficial words that are uttered withoutthought countless times a day. While Kane takes theselove shots, she refuses to get knocked down for thecount. On Side Dish she proclaims that she’s not willingto be an afterthought and on I Deserve Love shemakes it clear that no matter what others may think,she’s worthy of someone’s attention. On Hard KnockGal she gives props to the women who, like her, knowwhat they want and don’t rely on public opinion pollsto decide on a course of action.While Kane has always been surrounded by topnotch musicians, the addition of guitarist Laura Chavezto the band has added a tough edge to her sound thatemphasizes the anger and hurt of some of the lyrics.That’s not to say, though, that this disc is all sinewyguitar. Guests including Johnny Viau on sax, JamesHarmon on harmonica and old band mate Sue BeehivePalmer on keys spice things up and keep the soundfresh from cut to cut. There’s a bit of pop on BrendaLee’s Sweet Nothin’s, country, You Never Cross MyMind, classic nightclub jazz, Down With the Bluesand even funk reminiscent of The Clover’s Love PotionNumber 9, You Can’t Take It Back From Here.Mark SmithCANDYE KANESister VagabondDelta GrooveCandye Kane has had an adventuresome careerwith multiple discs and labels in her rearview mirrorand a biography straight from central casting: she’s aplus sized bi-sexual former porn star with a tumultuouslove live who found sanctuary in the blues.While her earlier discs played up her ample measurements(she’s big no matter where you put the tapemeasure- trust me I know this from having once beenforced to choose between suffocation and drinking abeer nestled between her massive breasts at one of herlive shows) and her image as a love goddess willingto take on whatever was put on her plate, her outputfollowing her 2007 release Guitar’d and Feathered hasfocused more on love, or the lack of it, as an emotional,rather than physical issue.One listen to this disc reveals that despite somebright moments as evidenced on Everybody’s GonnaLove Somebody Tonight and on Johnny Guitar Watson’s,I Love to Love You, Kane’s heart has been chewedup, spit out and stomped on more times than she cancount. On the horn driven Love Insurance she looks forsome protection from heartbreak but finds that she’sbeen there so often the premiums for the coverageare out of reach. The Walkin’, Talkin’ Haunted houseturns out to be Kane’s own body and soul which havewitnessed too many lovers passing through, but doinglittle more than signing the guest book.Have a Nice Day uses a peppy zydeco groove torecount a lover’s kiss off that cuts all the deeper withPa g e Si x t e e nNovember 2011 • Issue 338Various ArtistsMiles EspañolEntertainment One Music“Miles Español” is the title of a two-CD recordingon Entertainment One Music that was conceived andproduced by bob Belden with a roster of internationallyrenowned artists. Subtitled “New Sketches of Spain,”the disc includes fresh renditions of compositions from“Sketches of Spain” and “Kind of Blue,” and originalcompositions from some of the contributing artists.Among the more than 30 musicians assembled areChick Corea, Ron Carter, Jack DeJohnette, John Scofield,pianist Chano Domingez, drummer Alex Acuña,flautist Jorge Pardo, Sonny Fortune, Gonzalo Rubalcabaand Rabih Abu-Khalil. Some of the musiciansare former Miles sidemen, some are flamenco mastersfrom Spain, some are from North Africa, and some areprominent figures in New York’s Latin Jazz scene. TimHagans, Scott Kinsey, and Vince Wilburn Jr. (MilesDavis’s nephew). One purpose of this recording is toemphasize the Africa-Spain-New World Connection in

the emergence and evolution of jazz as is titled DougRamsey’s essay in the liner booklet, taking us fromJelly Roll Morton to Chano Pozo and Dizzy Gillespieand reminding us of the impact the Moors had duringtheir occupation of Spain.Belden himself in his notes here states that in histreatment of some compositions such as “Concierto DeAranjuez,” he did not wanted to mimic Miles’ recordingbut rather help develop the Gypsy and Arabic influenceon Spanish music and his unusual instrumentation thatincludes oboe and bassoon in addition to oud, dumbekand cajon to allow this fresh hearing of a classic. ChickCorea’s “Trampolin” follows with Ron Carter and AntonioSanchez joined by flautist Jorge Pardo on thebuoyant flamenco inspired piece.“Just Three Miles” is by Rabih Abu-Khalil whoseoud playing and trumpet by Tim Hagans provide anintriguing mix of Berber and other sounds. “Duende”is a duet between guitarist Niño Joseles and flautistPardo with a strong flamenco base. It’s followed bythe marvelous Gonzalo Rubalcaba on “Fantasia PorMiles Y Gil,” listed as a solo piano performance in thebooklet, but he clearly is accompanied by bass anddrums (Carter and Sanchez?).Similarly on what is supposed to be a piano trio pluspercussion, Edsel Gomez’s “Paisaje Urbano” has an unidentifiedsoprano saxophonist (Sonny Fortune?) whodances above Gomez’s Latin jazz piano. The unusualinstrumentation continues on “Saeta/ Pan Piper,” withits employment of bagpipe in addition to woodwindsand French horns and trumpets with the harp of EdmarCasteñada standing out among the percussion witha bassoon solo by Mike Rabinowitz framed by riffingmuted trumpets.Jack DeJohnette’s “Spantango” opens the seconddisc with unidentified flute (Jorge Pardo?) along withChano Dominguez’s spectacular piano, Eddie Gomez’sbass, DeJohnette‘s and Luisito Quintero’s congas. It isfollowed by a rendition of Miles’ “Flamenco Sketches”with Sonny Fortune’s flute and Jerry Gonzalez’ flugelhorn in addition to more piano from Dominguez. Gonzalezis outstanding in his spot, and like most of thisrecording the performance highlights percussion overorchestration. “Tirititran Catalan” is a traditional themethat bassist Carles Benavent arranged that spotlightsNiño Joseles acoustic guitar and Corea’s piano followedby another selection that showcases Corea witha guitarist, John Scofeld’s “El Swing,” with Scofeld’ssingle note runs standing out with DeJohnette beingoutstanding providing rhythmic accents. Rubalcaba’s“Momento” has a ruminative quality while Miles’ “Teo/Neo” showcases Edsel Gomez’s piano with John Benitezon bass, Alex Acuña on drums and Sammy Figueroaon congas supporting his effervescent playing.By the close of “Solea,” again with an expanded ensemblewith woodwinds, brass, harp and accordion, onehas listened to a variety of performances that freshlyexplore not simply the music that Miles recorded fivedecades ago, but a more contemporary presentation ofNovember 2011 • Issue 338some of those elements that provided inspiration thenand continues to provide a source for fresh musicalinvention. While the list of personnel in the bookletcontains some errors, musically there can be no faultwhatsoever found on this thoroughly engaging recording.Ron WeinstockLAURIE MORVAN BANDBreathe DeepScreaming LizardOn the band’s fifth disc, which comes on the heelsof the Blues Foundation’s 2010 award for Best SelfProduced CD for its release, Fire It Up!, guitarist LaurieMorvan and crew make a strong case for more awardsto fill their trophy case.With Morvan’s muscular, yet lyrical, guitar linesleading the charge the band proves to be adept at sexyfunk, Mojo Mama, where Morvan wants to “pull youdeep into my swamp”, hard hitting commentary on thecurrent state of the national dialog, Back Up the Train,with its poke at the T.V. blowhards “You know dogma isdead weight yeah, yeah/It leaves no room for debate/ashouting match ain’t communication”, Stevie Ray styleslow blues, It Only Hurts When I Breathe, and even ablues counterpoint to the clock watcher’s anthem, It’sFive o’Clock Somewhere, with a soon to be classic, NoWorking During Drinking Hours.Elsewhere, Morvan plays the diva who can’t bepleased, Bad Love Blues, takes on a no good lover, I’veHad Enough, looks at Hurtin’ and Healin’ as simplythe opposite sides of the same coin, laments days thatstart out bad and only get worse, Beat Up From theFeet Up and makes it clear her expiration date has yetto pass, Long Time ‘til I’m Gone.With Morvan joined by Lisa Grubbs on backingvocals many of the tracks sound like they could comefrom vintage Heart discs until Tommy Salyers throwsdown some great keys and things take a sonic detourinto Marcia Ball territory. With great guitar and compellingtunes there’s plenty to like about this release.Mark Smithjazz-blues.comPa g e Se v e n t e e n

Oscar PetersonUnmistakableSony Masterworks“Unmistakable” is the title of the “Zenph Re-Performance®”release of Oscar Peterson on Sony Masterworks.According to the back of the CD package, thisprocess takes audio performances and turns them backinto live performances through software that extractsevery nuance of the recorded performance and storingthis in a high-resolution digital file, the files containvery note played including pedal actions, volume andarticulations.The files are then played back on an acoustic pianofitted with sophisticated computers so the listener cansit in the room’ as if one was there when the originalperformance took place. This is the ambition and ithas been used for classical performances as well as aCD of Art Tatum.On this CD we have eight performances by thelegendary Oscar Peterson from several different recordingsof live performances. High points includea breakneck “Back Home In Indiana,” “When I Fallin Love,” and extended “Duke Ellington Medley” and“Goodbye.”There are moments of exhilarating displays of Peterson’sTatum-esque virtuosity mixed in with somecontemplative ones. Peterson has his advocates andcritics, but the restoration does provide wonderfulsound, although without the audience of the originalrecordings.The music is presented in both a stereo versionand a binaural stereo version, which is stated to be theultimate headphone experience. While the CD containsalmost 80 minutes of music, there is actually about 40minutes of each and I could not distinguish the twoversions on my headphones playing this through myMacBook.While audiophiles may have a different experience,many will view this as purchasing two virtually identicalpresentations of the eight performances. Fans of OscarPeterson will certainly enjoy the vividness of the soundon this in any event.Ron Weinstockjazz-blues.comPa g e Ei g h t e e nNovember 2011 • Issue 338Mark T. SmallBlacks, Whites & the BluesLead Foot MusicSolo performer Mark T. Small had a backgroundplaying in bluegrass bands, which perhaps is the sourceof his blazingly fast flat-picking style. This New EnglandNative though started gravitating to the blues, leading aband The Lonesome Strangers. Around 2000, he beganto pursue a solo career, stating, “I started developing thesolo show because I love the freedom associated with playingalone.” He has just issued a solo recording, his newCD, “Blacks, Whites & the Blues,” on Lead Foot Music. Itconsists of 14 songs, many classic blues but a few fromothers sources.It is an interesting and enjoyable recording with agruffly delivered, driving solo rendition of Muddy Waters’“Trouble No More.” His original “Boogie Woogie CountryMan” displays his flat-picking chops on a rockabillyflavoredperformance. Emphatic guitar and a slightlyoverstated vocal characterize his rendition of “Little RedRooster.” There is a nice solo on this. “Hesitation Blues”is a likable traditional blues with nice picking and slideon his National guitar. He picks up a telecaster for anenergetic rendition of John Lee Hooker’s “Bang, Bang,Bang, Bang,” while he is back to the National for FredMcDowell’s “61 Highway.”Small’s flat-picking skills are displayed on the traditional“Old Gray Mare,” which is played in Norman Blake’sstyle. “Six White Horses” also has a nice country tinge witha strutting rhythm. A solo rendition of “The Thrill Is Gone”has inventive guitar riffs and solos intertwined with Small’scoarse singing. A nice rendition of Fred McDowell’s “AFew More Lines” follows where Small’s playing emulatesthe late Mississippi legend. “Catfish Blues” has fresh guitarembellishments on the familiar Delta blues, althoughSmall’s vocal could have been a bit looser.The relaxed “A Georgia Camp Meeting” stands incontrast to most of the other performances and is followedby a nice ragtime instrumental, Scott Joplin’s “Solace,”which Small notes is the only time Joplin employed thetango rhythm. The thoughtful, genial playing provides adelightful close to this recording. While Small’s vocalsmight not match his imaginative and interesting guitar,he has produced an imperfect gem in “Blacks, Whites &the Blues.” It should appeal to fans of acoustic blues andblues-roots music.Ron Weinstock

Tony BennettThe Best of the Improv RecordingsConcord Music GroupGleaned from singer Tony Bennett’s brief stint onhis own Improv label that last a couple of years in themid-1970s, the compiled 16 tracks include studio anda couple of live performances of American Songbooktitles. All of the tracks on this album are also includedin Concord’s 4-CD boxed set, Tony Bennett: The CompleteImprov Recordings.Bennett is featured on this single disc with the RubyBraff/George Barnes Quartet, Charlie Byrd, Vic Dickenson,Bill Evans, John Guiffrida, Chuck Higgins, JimmyMcPartland, Marian McPartland, Wayne Wright, TorrieZito (Bennett’s musical director at the time) and others.Tunes include “This Can’t Be Love,” “Blue Moon,”“Isn’t It Romance?,” “You Don’t Know What Love Is,”“My Romance,” “You Must Believe In Spring,” and otherromantic gems. The only departure is the up-tempoRodgers/Hart chestnut, “The Lady Is A Tramp.”Although at the time of these recordings Bennetthad complete artistic freedom, the Improv label wasnot a commercial success and shut down after releasingabout ten albums.Bennett is in prime form, accompaniment is respectfuland this is a pleasing listen from start to finish.A 16-page liner booklet, with photos and lengthynotes (from the 4-CD boxed set) by Will Friedwald,accompanies this CD compilation produced by NickPhillips.Nancy Ann LeeIssues, Special Issues,Back Issues andThousands ofCD & DVD Reviews& More Cool StuffIn The Works!jazz-blues.comNovember 2011 • Issue 338Sugar Ray & the Blue TonesEveningSevernSevern has just issued the latest from Sugar Ray &the Blue Tones, “Evening.”The latest from the veteran New England band featuringthe vocals and harmonica of Ray Norcia, the pianoof Anthony Geraci, and the guitar of Monster Mike Welchtackles a typical range of Chicago and modern urbanblues, which are played in a traditionally rooted, butfresh approach. Michael ‘Mudcat’ Ward’s bass and NeilGouvin’s drums fill out the solid rhythm section for theBlue Tones,Having been a fan of Norcia since when I saw him backJ.B. Hutto in Fall of 1977 in New York City (when RonnieEarl was still with him), and having enjoyed his stint withRoomful of Blues and his strong body of recordings, thisnew release brings together a few choice interpretationsof less covered blues with idiomatic blues originals thatthankfully show little, if any, blues-rock tinges.This set kicks off with Johnny Young’s “I Having aBall,” with Norcia blasting out some harp and then beltingout an ebullient vocal that captures the spirit of Young’soriginal; as Geraci pounds away at the keys and Welchsuggests the brilliance of the late Sammy Lawhorn withhis accompanying riffs and single note runs.Welch contributed the slow blues “Hard To Get Along,”as Norcia sings about needing to get better than he is in aperformance that evokes the classic Chess sound beforethey cover Otis Rush’s “You Know My Love.” The originalrecording was based on Rush’s earlier Cobra recording “MyLove Will Never Die.” It takes a fair amount of bravadoto cover Rush, and Norcia able handles the vocal whileWelch rips off strong guitar that recalls Rush.The mood changes with the lazy groove of “DearJohn.” Sugar Ray’s harp here shows a touch of WalterHorton’s influence as Sugar Ray laments his women leavingfor his brother John. Sugar Ray celebrates his womanon “I Like What You Got,” followed by the “talking bluesvocal of “Too Many Rules and Regulations,” as Geraci ischanneling Otis Spann and Welch adds scintillating fillsbehind Sugar Ray’s talking vocal.“Dancing Bear (Little Indian Boy),” opens with Norciaplaying a native American Flute, before delivering a lyricsinging about a proud Indian boy. It is followed by a nicerendition of the standard “Evening,” made famous byPa g e Ni n e t e e n

Jimmy Rushing and T-Bone Walker. Geraci is outstandingon piano and organ, while Welch rips off a hot solo.The harp at the very beginning of “I Came Down WithThe Blues” suggests Slim Harpo before Sugar Ray easesinto a more Sonny Boy Williamson II vein. “I’m CertainThat I’m Hurting,” is a lively shuffle as Sugar Ray is hurtingabout his girl’s flirting. The closing, slow instrumental“XO,” allows Sugar Ray to demonstrate his fluid attackand strong tone.There are a couple songs on which the lyrics may notbe as strong as the superb playing by the Blue Tones, butthey consistently nail the performances here. I previouslymentioned that the contributions of the soloists and thecontributions of bassist Ward and drummer Gouvin, who(with Geraci) provide the solid, swinging foundation here,merit commendation.“Evening” is another first-rate effort from Sugar Ray &the Blue Tones.Ron WeinstockSTEVEN BERENSTEIN’S MILLENNIALTERRITORY ORCHESTRAMTO Plays SlyTHE ROYAL POTATO FAMIYThe iconic soul sounds of Sly and The Family Stoneare revived here with an inspired-sounding “little bigband” treatment, energized further by fresh, individualizedvocal takes. NYC trumpeter Berenstein’s ensembleand guests cut lively new pathways through classicssuch as “Everyday People” and “You Can Make It IfYou Try”. Key to the success of these tracks are Berenstein’shorn charts which relate both expansivelyand empathetically to the material.But sealing the deal are a couple of ear-grabbingvocals that dig deep into the emotional possibilities ofSly Stone’s frequently poignant lyrics. Sandra St. Victor’swork on “Stand” and Antony Hegarty’s on “FamilyAffair” are worth the price of the disc. VenerableP-Funk keyboard whiz Bernie Worrell’s contributionsloom large as well.Duane VerhPa g e Tw e n t yIssues, Special Issues, Back Issues andThousands of CD & DVD Reviewsjazz-blues.comNovember 2011 • Issue 338dvdsZoot SimsIn a Sentimental MoodGAZELL RECORDS DVDMVD Visual has releasedin the US the GazellRecords video of ZootSims, “In a SentimentalMood.” This video wasfilmed in November, 1984,just months before thetenor saxophonist passedaway. It was filmed at thelibrary of Sonet Recordsin Lidingo, Sweden withSims backed by BassistRed Mitchell and guitarist Rune Gustafsson. The librarysetting and the drummer-less trio make for an intimateperformance. An interview by Mitchell of Sims (actuallymore of a conversation) is interspersed betweenthe performances.The performances focus on ballads starting with theEllington classic that gives this DVD its title and endingwith “Autumn Leaves.” The swinging Sims was a masterat ballad playing which, like his basic approach to thesaxophone, reflected the influence of Lester Young, perhapswith a slight vibrato that might have been pickedup from Ben Webster.Mitchell provides a foundation as Gustafsson lendssome chords with each taking solo breaks. “Gone Withthe Wind” opens with somewhat more of a breathiersound, perhaps reflecting more Webster here (and Websterdid record this on a session with Art Tatum.The interview portions includes recollections of hisearly days, including a story of his time with BennyGoodman when he had a big apple on the stand andBenny had him solo and took the apple and kept gesturingfor Sims to keep soloing as Goodman ate theapple. He recalls it was the longest solo he ever playedwith Benny.After Sims had talked about his early days on 42ndStreet, Mitchell himself recalls playing with a trio openingfor Charlie Parker at the Onyx Club, and Bird afterthe set comes by and speaks in a very proper Wasp-ishaccent and asks Mitchell to play the next set with him.Mitchell thinks this isn’t serious until Bird announces itfrom the bandstand.The light banter complements the performances,with the filming centering mostly on the players facesand expressions. So we see Sims and his embouchurebut little fingering, but there is plenty of character revealedin their faces as well as in the music. “In a SentimentalMood” is a delightful video that fans of Sims’ballad mastery will certainly enjoy. Ron Weinstock

GerryMulliganJazz AmericaMVD Visual DVDT h i s 6 0 - m i n u t eDVD captures baritonesaxophonist GerryMulligan’s quartetperforming at Eric’s inNew York City. Filmedby Gary Keys, the setwas likely originallyproduced for California’sKCET television.Before startingthe 1981 set, the filmopens with a few minutesof interview snippets interspersed with Mulligan’sriffs.Mulligan is charming and friendly throughout theentire live performance, announcing the seven tunesand providing details behind some of his originalsperformed with pianist Harold Danko, bassist FrankLuther and drummer Billy Hart. Tunes include “17 MileDrive,” “Around About Sundown,” “For An UnfinishedWoman,” “Walk on the Water” (featuring Mulliganon soprano sax), “North Atlantic Run,” and (my twofavorites) “Song For Strayhorn” and “K-4 Pacific.”The tune dedicated to Ellington band composer BillyStrayhorn contains one of the prettiest melodies ofthe set and the dramatic, traveling, time-shifting ‘K-4’tune, Mulligan explains, is inspired by a steam locomotivethat traveled from Philadelphia to Chicago.Gary Keys’ cinematography provides tight close-upsfrom four cameras without any special effects andsound quality is excellent.A multi-talented arranger, composer, saxophonistand conductor, Mulligan (b. 1927, d. 1996) is probablybest known for his compositions and arrangementsthat led to the landmark recording, Birth of the Cool,which marked a new direction in jazz, departing fromthe bebop style.This intimate live performance by one of theworld’s most widely respected and revered jazz musiciansdocuments him at the peak of his career, thesame year he won a Grammy Award for “Best JazzInstrumental Performance by a Big Band” for his DRGalbum Walk on the Water. Nancy Ann Leejazz-blues.comNovember 2011 • Issue 338Pa g e Tw e n t y On e

To a visitor, it’s barren desert.To our supporters, it’s bustling with life.Even the most arid landscapes are home to Earth’s amazing species. The NatureConservancy is dedicated to protecting the variety of plant and animal life on Earth—even when found in the most unlikely places. The Nature Conservancy has protected117 million acres in 28 countries. With your support, that number will keep growing.Visit nature.org or call 1-888-2 JOIN TNC.Pa g e Tw e n t y Tw oSan Rafael Desert, Utah © David MuenchThis message is made November possible by 2011 the generous • Issue support 338 of this publication.