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Pop
and Contemporary Music |
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Ruby
Turner - Live At Ronnie Scott’s
RTR Productions RTRCD002 Reviewed by PD
Ruby Turner is a regular on the live circuit and has been captivating
crowds up and down the country with her fantastic voice and excellent
backing band. Best known for the hits ‘If You’re Ready (Come
Go With Me)’ and ‘I’d Rather Go Blind’, both included
here as extended workouts, Ruby remains one of the world’s best
loved soul singers. Live At Ronnie Scott’s was recorded just as
the gig went down and is an excellent representation of what she’s
all about on stage. Her relaxed and easy going way with a crowd shines
through and because it hasn’t been tampered with in the studio the
recording has that ‘up close and personal’ feel of being there,
something so many live albums fail to capture. Support from the musicians
is
stellar; this is one red hot band and they definitely know how to bring
the best out of Miss Ruby as she hollers, shouts, whispers and screams
her way through a well-balanced set of originals and covers. The ‘Ronnie’
gig would have been a worthy purchase on its own but you lucky people
get a bonus disc of a gig she did at the M.A.C. in 2003 which is just
as good - if not slightly better - than the ‘Scott’s’
one. |
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The
Beat Daddys - Five Moons
Beat Daddys Records 4416705762 Reviewed by AH
Every once in a while your ears get a right royal bashing from a band
you’ve never heard of. You put the CD on not knowing what to expect
and by the time it draws to a close you’re left gasping for breath,
a heap on the floor. Well, dear reader, let me welcome you to the world
of The Beat Daddys, a little ol’ band from the USA you have just
got to hear.
This is actually their sixth album (God knows where they’ve been
hiding) and if by any chance your musical tastes take in the likes of
Gary Moore, Joe Bonamassa, Walter Trout, Lynyrd Skynyrd and Bob Seger,
you owe it to yourself to buy this album.
It has just about everything you’ll ever need from blues/rock; a
rough, tough dirty singer, a pulsating lead guitarist, a finely honed
rhythm section and a bevy of top notch tunes that just get better and
better with every listen. As good as those songs are, two stand out from
the pack. The first, ‘Bad Streak’, is a mid-paced lonesome
number, the sort Bob Seger does so well, and the second is a divine slow
blues called ‘Everybody Needs Some’ and trust me, you definitely
need some of this!
The last time I was this impressed was when I discovered Bonamassa, and
that is most definitely a compliment of the highest order.
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Scott
McKeon - Can’t Take No More
Provogue Records 7213-2 Reviewed by AH
Comparisons to Aynsley Lister can be readily made, for Scott Mckeon bears
more than a passing resemblance vocally and isn’t a world away from
the great man in terms of his guitar playing. Also, ex-Hoax man Jesse
Davey produced, which he also did on Aynsley’s Everything I Need
album. For a 20 year old Mckeon possesses a remarkable maturity, and he’s
already making inroads in the vast US market. If you can entice the likes
of Buddy Guy, Sonny Landreth and The North Mississippi Allstars to give
you shared space on their stages, then you definitely have it going on.
Mckeon’s something of a musical chameleon for he also plays bass
and drums on a fair few of the tracks, but it’s obviously his guitar
playing he’s going to be judged on and it has to be said he knows
his way around a fretboard. As well as the Lister comparisons you can
throw SRV into the mix and to a lesser extent even Jimi Hendrix, although
Mckeon has a more precise and uncluttered approach. Davey’s done
a good job in the producer’s chair and wheels out his guitar to
take a solo on the slow burning ‘Last Thing I Do’, an 8 minute
workout and album highlight. Mckeon’s not the finished article yet
but he’s got the talent to go far, so watch this space. |
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Foley/Coleman/Potvin
- Timebomb
Ruf Records RUF1129 Reviewed by AH
Bringing three blues guitarists together on one album is not a new concept;
Alligator Records did it with Albert Collins, Johnny Copeland and Robert
Cray in the 70’s and this very same label also did it with Aynsley
Lister, Ian Parker and Erja Lyytinen last year. Marketing men being what
they are, they obviously spotted the opportunity for a few sales by bringing
these three talented ladies into the studio to repeat the process, so
here we are with Timebomb. Of the three, Sue Foley probably has the highest
profile, although Deborah Coleman has had reasonable success with a few
albums on Blind Pig.
The least well known is Canadian Roxanne Potvin, but that will change
shortly as her second album has just been released by Ruf and is destined
for great things. All the girls are excellent guitarists who take it in
turns to rip off some wildly exciting licks, never more pulsating than
on ‘So Far’, sung on this occasion by Foley who sounds very
much like a female Bob Dylan. However, vocally the awards have to go to
Potvin, who can rip it up with the best of them (‘Hitting On Nothing’)
or sing the living soul out of a song as she does so wonderfully on ‘Strong
Enough To Hold You’. Explosive stuff indeed and an excellent addition
to anyone’s record collection - blues or otherwise.
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Gretchen
Peters - Burnt Toast And Offerings
Curb Records CURCD228 Reviewed by AH
Gretchen Peters is a consummate songwriter who rightfully receives great
acclaim in the press and from her fellow professionals for her talents
with the pen. She doesn’t always get the same accolades for her
abilities as a singer though, something that definitely needs rectifying.
Wogan does his best to raise her profile and this album should help too,
as it offers more diversity than anything she’s done before. Peters
has a divine voice, as clear as the purest mountain stream, and when she
marries it to her formidable songs it’s a joy to behold. As mentioned,
this is a slightly more eclectic Peters at work. The ability to take the
listener on a journey through her eyes by way of a gentle country mellowness
is still to the fore, but this time she adds in a little lounge bar jazz
and even an up tempo bluesy number. That track, affectionately titled
‘England Blues’, clearly came about from a trip to this fair
isle and mentions hotel rooms on the River Tyne, driving on the left hand
side and leaving Nashville far behind. Up-tempo suits her and it’s
something she should definitely investigate further. Burnt Toast…
is yet another cracking album from a supremely gifted talent who makes
the art of songwriting seem like a stroll in the park.
Young pretenders should buy, listen and learn.
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Ian Parker
- Where I Belong
Ruf Records RUF1120 Reviewed by AH
Interesting that a German label should be home to two of England’s
finest blues/rock talents. Ian Parker and Aynsley Lister have built up
a healthy following amongst fans in Europe thanks to their blistering
live shows and excellent recorded output.
They very often share the same bill but their styles are markedly different;
Lister being the more rock oriented whilst Parker digs deep into soulful
blues and singer/songwriter territory.
Where I Belong definitely pushes the boundaries more, although there’s
still plenty of mesmerizing guitar playing to wonder at. Oh, then there’s
that voice, capable of going from a throaty roar to a sensual whisper
in an instant. Parker knows how to use it to maximum effect and to watch
him lose himself in his singing and playing live is to witness one of
the most passionate and mercurial talents in his field. This album takes
a bit of getting into - no bad thing as they’re usually the ones
you return to again and again. Catchy numbers are there though; ‘Waste
My Days’ has a magical chorus with a great horn arrangement and
girly backing singers, and raspy ballad ‘Coming Home’ could
easily have been lifted from one of Prince’s classic records. Check
him out live and then purchase his albums because he really belongs is
in your collection.
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Scott
Kinsey - Kinesthetics
Intuition INT/BirdJam34512 Reviewed by DD
A key member of Tribal Tech and a valued sideman and session player, Kinsey
is both a distinctive soloist and an inventive practitioner of synthesizers.
Kicking off with the distinctly Zawinal/Weather Report influenced title
track, it’s immediately apparent that this is going to be an enjoyable
journey. Warm, dynamic and inventive with great percussion (Kinsey is
variously joined in this recording by an army of talented drummers) the
track is also powered by a driving bass line from Paul Shihadeeh. This
great start is exceeded by the following number ‘This is That’
with a dialogue between gruff nasal and high pitched vocodered vocals
punctuating an exotic blend that somehow manages to be both amusing and
funky. The album is stuffed with invention and surprising textures whilst
never letting go of a fluidity and groove that feel entirely natural and
organic. “To me, it all breathes and has a certain conversational
element to it, which are all-important elements in my music” says
Kinsey. There’s not a weak number here and the fun this talented
ensemble are having just leaps from the speakers. Complemented by a warm,
big-hearted recording that brings the best from the powerful platform
of bass and percussion, this CD whilst it should gladden the heart of
any Weather Report fan, will cast its net much wider than that and is
strongly recommended.
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Joe
Ely - Happy Songs From Rattlesnake Gulch
Rack ‘em Records RERCD1 Reviewed by AH
Flatlander, high school rebel rouser, rock ‘n’ roll outlaw,
friend of The Clash; Joe Ely’s covered a lot of ground in his eventful
life. As well as amassing an enviable back catalogue, he’s also
written a couple of novels, worked for a circus and had a bit part in
a film. His last album, ‘Streets Of Sin’, was a barnstormer
of a record and he’s kept the standard rolling on with this wonderful
new collection. As the title suggests the songs are on the ‘up’
side and, as expected for someone so respected, there’s a healthy
gathering of tasty musicians along for the ride. Things get under way
with a typical Ely rocker, ‘Baby Needs A New Pair Of Shoes’,
all smoking guitars and snappy horns. It’s hotly followed by the
bopping ‘Sue Me, Sue’, a country rocker with great keyboard
work from Joel Guzman. One of Ely’s great strengths is the story
song and here he weighs in with ‘Miss Bonnie And Mr Clyde’,
an endearing tale about the gangsters that ends with our hero running
off with the woman of the piece.
The lyrics are fantastic and there’s some wonderful wah wah guitar
courtesy of Rob Gjersoe. There aren’t many artists as consistently
superb as Joe Ely. If you’ve yet to discover him, this is as good
a place to start as any. |
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Antonio
Forcione - Antonio Forcione Quartet in Concert
naim cd099 Reviewed by DD
Recorded at the Trinity Centre, Tunbridge Wells, Antonio Forcione is joined
in this live set by Jenny Adejayan (cello), Adriano Adewale (percussion),
and Nathan Thompson (double bass). This set was originally issued in 2006
by naim as a DVD, which proved so successful that its release as a CD
became inevitable. Recorded completely live, with no overdubs naim have
done an excellent job of capturing the performance in this format. Opening
with the familiar notes of ‘Heartbeat’ such is the range and
expression that Forcione wrings from his guitar that the number was more
than half way through before I fully registered that he’s taking
this opening number solo. The band join him and further flesh out the
sound for ‘Acoustic Revenge’, followed by ‘Tears of
Joy’, the rather lovely ‘African Dawn’. There’s
a protracted wander across the dark continent before they truly let rip
with ‘Tarantella’ This is followed by a storming encore of
‘Maurizio’s Party’ that even takes in ‘Smoke on
the Water’ amongst the displays of high-speed dexterity. A very
enjoyable concert and a worthy companion to Forcione’s excellent
2000 album Live (naim 054).
Forcione might divide opinion, but if you like his work you’ll love
this.
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The
Good, The Bad & The Queen - The Good, The Bad & The Queen
Parlophone Reviewed by PD
Artistically, this is beyond reproach. Give it time – which, as
in the case of many superior albums, is necessary – and the music
here coheres into a whole much greater than the sum of its parts. That
whole is in turn an intriguing amalgam of English pessimism (a la, first
and foremost, Ray Davies), tasteful electronica, deep bass dub, and quietly
innovative percussion rooted in African music. In sum, intelligent and
well-crafted music for grown-ups that mines rich and divergent influences,
but in the end speaks with its own voice. What more could you want? Well,
better sound to begin with. The electronically produced sounds here, predominant
throughout the album, sound thin and cheap. The thinness of the acoustic
guitar, an important instrument throughout, is equalled only by its nasty
edge. Music as clearly influenced by dub as this cries out for a rich
bass foundation that just isn’t there. Maybe the sound presented
here is the result of an “aesthetic judgment” – this
is music about the inadequacies of the modern world, after all - but I
doubt it. The sad thing is that the song writing is here, the soul is
here, the musicality is here. Where’s George Martin when you need
him? |
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Mary
Chapin Carpenter - The Calling
Zoe Records 01143-1111-2 Reviewed by AH
I remember the Sony rep coming in with Mary Chapin Carpenter’s debut
album muttering something about her being the next big thing, and after
10 albums and sales of 13 million it’s difficult to argue with his
foresight. The Calling sees her changing labels to Zoe/Rounder but she
hasn’t changed her style and why should she - ‘if it ain’t
broke, don’t fix it’, as they say. As with most of her albums
these songs might take a little time to worm their way into your affections,
and if you’re anything like me your opinions on which are the best
songs will probably change the more you listen. I have a penchant for
her quieter moments, I think it suits that lovely honey-coated voice better.
The woman’s a marvelous lyricist and she always paints her songs
in a rich and vivid imagery.
She’s also not afraid to ruffle a few feathers and dedicates ‘On
With The Song’ to The Dixie Chicks, in response to the ridiculous
treatment that band received from certain quarters within the United States.
Mind you, after New Orleans I doubt she’ll get treated the same
way as The Chicks! There’s nothing as immediate as ‘Shut Up
And Kiss Me’ here but I’m only on my 4th play. No doubt I’ll
have changed my mind by the 10th time around.
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Miranda
Lambert - Crazy Ex-Girlfriend
Sony/BMG Records 82876 78932 2 Reviewed by AH
Things are happening pretty fast for Miranda Lambert, a 23 year-old beauty
from a small town in Texas. Her first album Kerosene contained mostly
self-written material and debuted at number one on the country charts,
almost unheard of for a relatively unknown singer. Apart from Patti Griffin’s
‘Getting Ready’, Gillian Welch and David Rawlings’ ‘Dry
Town’ and the Carlene Carter/Susanna Clark chestnut ‘Easy
From Now On’ this new album’s songs are all originals or co-writes,
and top notch they are too. Wariness creeps in when I see a pretty face
on a major label country album as so many of them are saccharin sweet
and nauseous in the extreme. Fortunately not this girl. She’s a
ferocious talent with a big voice who damn well knows how to write a good
song. Take ‘Gunpowder And Lead’ for instance, a song that
came to her in concealed handgun classes (!). Rarely have I heard a country
album open with such a shitkickin’ song; the guitars are cranked
and sweaty, the lyrics hit hard and Lambert’s voice thunders along
in righteous glory.
It’s not the only one either; ’Crazy Ex-Girlfriend’
hits with a snarling vocal as Miranda reminds all and sundry she’s
not a girl to mess with. She’s one sassy lass is Miranda, any future
boyfriends would do well to stay on the right side of her!
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Nick
Lowe - At My Age
Proper Records PRPCD030 Reviewed by AH
The last three albums by perennial song master Nick Lowe have all been
brilliant affairs; At My Age ushers in number four. He’s definitely
mellowing with, ahem, age; don’t expect to find any brit rock/pub
rock anthems like ‘I Love The Sound Of Breaking Glass’ here.
No sir, ol’ Basher’s taken to country crooning like the proverbial
duck to water, and it suits him just fine. It might take him a little
longer between albums these days (this one’s taken 6 years to complete)
but who cares when he crafts something as wonderful as this. At the ripe
old age of 58 Nick Lowe’s seen a lot of life, and he’s damn
good at giving us his slant on it. And if we’re to believe that
‘Hope For Us All’ is autobiographical our hero’s found
himself someone to love, too.
“Even if I can find someone, there’s hope for us all”
he sings, in his own self-deprecating way. That song’s not the only
one likely to bring him admiring glances from the Tony Bennetts and Englebert
Humperdinks of this world, and in no way is that meant as a put down.
He might sing “in my life I’ve done things I’m not proud
of” but the crafty old sod can be well pleased with his latest effort.
He’s an institution is Basher, God bless him.
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Indigo
Girls - Despite Our Differences
Hollywood Records Reviewed by AH
To survive 20 years in an industry as fickle as the music business, you
need to have something going for you. In the case of Amy Ray and Emily
Saliers - aka The Indigo Girls - that something is an abundance of natural
talent. Despite Our Differences finds them breaking away from their long
association with Sony and hooking up with Hollywood Records and producer
Mitchell Froom. Froom’s home studio became the girls’ halls
of residency and the album was cut with the whole band in one room, resulting
in that all-important ‘live’ feel. As a partnership highly
dependant on harmonies, the girls needed someone with a keen ear for such
things, and in Froom they found the perfect soul mate. He got the band
living and breathing the songs and the freshness of sound married to the
quality songwriting means the listener can buy with confidence, for this
is definitely one of their finest efforts. Long time fan Pink lends a
hand on the playful ‘Rock ‘n’ Roll Heaven’s Gate’
and rising star Brandi Carlile (check out her excellent albums) provides
dreamy harmonies for the beautiful country ballad ‘Last Tears’.
Throw in opener ‘Pendulum Swing’, a swipe at Bush’s
handling of the war on terrorism, plenty of acerbic lyrics and a crack
band, and it all ends up being pretty darned close to the perfect album.
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Jazz
Music |
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Tony
Scott - A Jazz Life
Kind of Blue KOB 10015 Reviewed by DD
Tony Scott has always defied categorisation and as a result of his nomadic
career has not enjoyed the recognition that is his due. Originally a leading
bebop clarinettist, he left the US in 1959 to travel in Asia and Italy,
which despite further wandering has now become his base. Over the years
he has played with many jazz greats including Dorsey, Ellington, Gillespie,
Webster and Billie Holiday. With a string of world music inspired releases
behind him and now well into his eighties, the man’s passion for
music remains undiminished. He’s assembled a great band of young
musicians here and the band’s take on Ellington’s ‘Caravan’
injects a dose of exoticism, a real flavour of different cultures and
countries that is so often missing from more pedestrian interpretations.
Then there’s the lovely ‘Come Sunday’ providing a showcase
for Scott’s clarinet, notes tailing off and hanging delicately in
the air, before Endsley’s fine, warm toned solo. And so it goes,
the band working through a great set of standards along with a lissom
and lively take on his own ‘Nina’s Dance’ from Scott.
Throughout Scott retains the power to surprise, always lyrical his approach
remains fresh and far from the obvious.
With a full-bodied and spacious recording and a bonus DVD of 5 numbers
and interviews this is both a bargain and a great musical treat.
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Gil
Evans - New Bottle Old Wine
Pure Pleasure/World Pacific ST 1011 Reviewed by DDD
The great jazz arranger Gil Evans is best known for his collaborations
with Miles Davis, but he also led a monster session for Impulse, Out of
the Cool, a fabulous Verve date, The Individualism of Gil Evans, and several
great releases on the Pacifi c Jazz/World Pacific label. This World Pacific
re-issue features Julian “Cannonball” Adderly on alto, Frank
Rehak on trombone, Johnny Coles on trumpet and Chuck Wayne on guitar,
filled out with a handful of other players making up a modestly sized
“big band”. This is a neglected masterpiece, otherwise available
only as on out of print Blue Note CD. The lack of a listing in the Penguin
Guide reflects this state of neglect, which afflicts jazz records in general.
This 1958 recording was Evans’ second release as a leader, and it
proved that he could fl y solo. The session consists of classic jazz standards,
among them ‘St. Louis Blues’, ‘Round Midnight and ‘Lester
Leaps In’ and the interpretations are classic too. For years I’ve
enjoyed my mono original and I sniffed a bit when I saw Pure Pleasure
had remastered the stereo tapes. How wrong I was! This is a true stereo
recording and an outstanding one at that, which I prefer to the mono.
Highest recommendation. |
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Annie
Ross and the Gerry Mulligan Trio/Quartet - Sings a Song with Mulligan
Pure Pleasure/ World Pacific ST1253 Reviewed by DD
Although she’s best known for her work with the ground-breaking
Lambert, Hendricks and Ross, Annie Ross also carved a pretty successful
career as a solo performer. This set, originally released in 1958, finds
her at the peak of her powers and superbly accompanied by Mulligan’s
band. As if the sensitive, sinuous sound of Mulligan’s baritone
wasn’t enough, and quite rightly he dominates the instrumental side
of things here delivering many great solos, as in ‘You Turned the
Tables On Me’ to underpin, emphasise and complement Ross’s
vocals, the bands include the trumpets of Chet Baker and/or Art Farmer,
both in great form, along with Dave Bailey on drums, and Henry Grimes
or Bill Crow on bass. Although it’s labelled a stereo recording,
the set includes four numbers in mono but this doesn’t matter a
jot, all are well captured with a very natural, warm recording that capture
the best from her vocals and from Mulligan’s fruity tones. Standouts
include the sprightly opener ‘I Feel Pretty’, the aforementioned
‘You Turned the Tables...’, and particularly for some great
fluid sparring between trumpet and baritone, ‘Between the Devil
and the Deep Blue Sea’. This is a very welcome re-issue and an essential
component of any comprehensive jazz vocal collection. |
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Budd
Johnson & Earl Hines - Mr. Bechet
Pure Pleasure PPAN 006 Reviewed by DDD
This is Pure Pleasure’s second release from the French Black &
Blue catalog. The label issued dozens of blues and traditional jazz titles,
and knowledgeable collectors have been picking up any they happen across
as they feature generally good performances in truly outstanding sound.
This is a quartet recording from 1974, with Johnson on tenor and soprano
saxophone, Hines on piano, Jimmy Leary on bass and Panama Francis on drums.
Swing jazz records don’t sell well, so this was a gutsy choice by
Tony Hickmott. It was also an inspired one, as this set couples truly
engaging music with audiophile sound. The title of the album is a tribute
to the father of the soprano saxophone, Sidney Bechet. Johnson and Hines
played together in the 1930s and their reunion forty years later can also
be seen as a tribute to Earl Hines, one of the greats. I had never heard
this record before and felt a sense of discovery halfway through the first
cut. This is one of the gems of the Black & Blue catalog from a musical
perspective. I don’t know how good the original sounds, but this
re-issue easily deserves a super disc sound rating. While great sounding
reissues are becoming more common, this is one of the few that has “reach
out and touch me” sound quality. Don’t miss it! |
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Duke
Ellington & His Orchestra - 70th Birthday Concert
Pure Pleasure/ United Artists UAD 60001 Reviewed by DD
Don’t let the title put you off. This may have been Ellington’s
final decade and whilst this wouldn’t be my first choice to kick
off an Ellington collection (that would be something from the Blanton-Webster
band) it constitutes one of his last great recordings and he and his band
could still swing like hell. Recorded in Manchester and Bristol during
the band’s 1969 European tour, the line-up includes many of the
greats such as Paul Gonzales, Cat Anderson, Cootie Williams, Lawrence
Brown and Johnny Hodges, along with a guesting Wild Bill Davis. It’s
a great example of what a powerful force this band was and of course what
a musical genius led them. It’s jam-packed with highlights but particularly
memorable sections include the tenor workout in the extended jam of ‘In
Triplicate’, Cat Anderson reaching for high notes in a fabulous
solo in ‘Satin Doll’ and a storming opener in ‘Rockin’
In Rhythm’. Adding to the atmosphere are Ellington’s spoken
exclamations and introductions and the whole thing makes me kick myself
that at the time these great events were recorded I was probably rocking
out to Shaking Stevens and the Sunsets. Ah well, my loss. With good, clean
Pallas pressings this set forms a useful improvement over my well worn
original and constitutes an essential purchase. |
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Art Pepper
- Intensity
Analogue Productions/Contemporary S7607 Reviewed by DDD
While in the process of reviewing this 45-RPM deluxe package from Analogue
Productions, I learned the sad news that Fantasy’s new owner, Concord
Records, is closing its fabulous tape vault and packing up the world’s
finest archive of jazz master tapes (from Prestige, Contemporary and many
other labels) and storing them in a records storage facility used for
musty old legal briefs. This will almost certainly put an end to the wonderful
re-issues that we’ve become accustomed to, as there will be no archivist
to hunt down the original master tapes. Next time a record is to be re-issued,
a file clerk will be in charge. In the meantime, here is another great
session that got through before the gate closed. One of Pepper’s
best sessions, he teams with Dolo Coker, Jimmy Bond and Frank Butler on
this 1960 session recorded by the legendary Roy DuNann. This was the last
of a string of classic LPs recorded by Pepper for Contemporary between
1957 and 1960, and all have been released by Analogue Productions as 45-RPM
sets. This is another Steve Hoffman and Kevin Gray mastering job and it
has outstanding sound. It’s one of the choice titles from this fourth
batch from the Fantasy 45 Series. Great music, great sound engineering
and great mastering add up to a winner.
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