&blues - the Jazz & Blues Report

strong rhythmic impetus.
One might compare Davis to the late Brownie
McGhee or John Cephas as an agile, adept and fluid
picker who also conveyed considerable feeling in his
singing. To these splendid musical performances, Davis
also tells stories that are amusing about hobos, and
catfish stew and at other times chilling as when he talks
about the lynching. The result is an interesting, provocative
and marvelous recording. Ron Weinstock
album of contemporary jazz performances. Like other
recordings in this series, it likely will have some look
forward to visiting Small’s when in New York City.
Ron Weinstock
BiG JAmeS AnD THe cHicAGo PLAyBoyS
The Big Payback
BLinD PiG
Recorded live at the Lionel Hampton Jazz Club in Paris,
this release finds Big James and crew mining the funky
JoeL frAHm QUArTeT
blues territory occupied by the likes of Tower of Power,
Live At Small’s
early Chicago and James Brown.
SmALLSLiVe
The disc starts on a solid note with the massive grooves
Small’s Live, the label associated with the Green- of The Blues Will Never Die which features plenty of smoky
wich Village Jazz venue Small’s, has issued several trombone and hard hitting guitar and keys. The James
new CDs, one of which is Joel Frahm Quartet’s “Live at Brown penned title cut was likely better live on the dance
Smalls.” Tenor saxophonist Frahm is joined by guitar- floor than on disc where its repeated funk riff overstays its
ist Kurt Rosenwinkel, bassist Joe Martin and drummer welcome with a five minute plus running time. The self-
Otis Brown III (although the cover lists him as playing penned Coldest Man I Ever Knew quickly redeems things
piano, he is pictured behind his drum set).
with its dueling horns and stinging guitar leads. A pair of
Recorded the weekend of February 28 and March 1, Magic Sam tunes, All Your Love and That’s Why I’m Crying
2011, the album consists of five Frahm originals and in- and the original, Low Down Dirty Blues, feature not only
terpretations of Billy Strayhorn’s “Chelsea Bridge” and Big James’ earnest vocals but take the band firmly back
Charlie Parker’s “Steeplechase.” I have been impressed to its Chicago roots with their solid groove and adept use
by what I have heard by him in the past and was not of dynamics. George Clinton’s I’ll Stay throws a change up
surprised by the blues-drenched opener “Short Rack” into the mix with its unhurried pace and extended soloing
that is in the spirit of some of the great instrumentals by guitarist Mike “Money” Wheeler.
by the likes of Hal ‘Cornbread’ Singer and King Curtis The band also dips into soul 70’s era soul with the tale
with Rosenwinkel taking a nice solo foil for Frahm’s of a double dealer who uses your stuff and takes your lady,
strong blues tenor.
Jody’s Got Your Girl and Gone. Bob Seger fans will immedi-
It was some varied music at Smalls that weekend ately recognize the band’s smoking version of the Eugene
with interesting compositions such as “A Little Extra” William’s penned Trying to Live My Life Without You that
with an unusual time signature followed by the groove Seger has often featured in his live shows. Seventies era
inflected “What’s You Beat?” that includes some sur- rockers also get a nod on the band’s instrumental version
prising twists and turns as the performance unfolds of the Deep Purple classic, Smoke on the Water. Overall, a
with Rosenwinkel’s guitar being outstanding. “Chel- fun listen for those times where you need some horn driven
sea Bridge” features some lovely playing from Frahm funky blues. Mark Smith
and the closing rendition of “Steeplechase” gives it a
imaginative arrangement with Rosenwinkel opening up
Issues, Special Issues,
with an discursive solo followed by the leader’s spirited
Back Issues and
exploration of the theme.
Thousands of
As typical with Smalls Live recordings, the sound
CD & DVD Reviews
is quite good and enhanced by the simple presentation
with the black and white photography of Michelle Watt,
& More Cool Stuff In The Works!
who also designed the cover in the attractive format
www.jazz-blues.com
of recordings on the label. This is another excellent
Pa g e Si x T e e n
May • June 2012 • Issue 342