New Jazz & Blues – 4/5/2022
Author: Dave Rogers
Quentin Angus – The State Of Things (Outside In Music): “Beginning his journey in Eden Valley, a small South Australian country town with a population of only 200, guitarist/composer Quentin Angus has been based in the world’s Mecca for jazz—New York City—since 2010, where he is an Associate Professor of Music and program coordinator of jazz and popular music at the Borough of Manhattan Community College, City University of New York. Since his arrival he has received national and international recognition for both his guitar playing and composing. This includes an APRA Art Music Award for ‘Excellence in Jazz’ (2012), subsequent nominations in 2013 (‘Excellence in Jazz’) and 2014 (‘Work of the Year’), winning three ASCAP ‘Young Jazz Composer Awards’ (2012/2013/2015), five Downbeat Magazine Awards in the ‘Composition’ (2011/2012/2014) and ‘Soloist’ (2012/2014) categories, and being named the Channel 9 ‘Young Achiever of the Year’ (Arts Category/2013).
Described by critics as a “Lord of the strings”- The Age (Michael Dwyer), “The Future of Jazz Composition”- Paul Williams (ASCAP), Quentin Angus is excited to release his next album “The State of Things”. Angus describes this release as a reflection on the next stage of his career and life as a professor and father. Joined by a cast of incredible musicians including Mack Avenue artist Michael Mayo (Voice and Lyrics), Can Olgun (Piano), Desmond White (Bass), and Nate Smith (Drums) they do their versions of popular songs such as “Pure Imagination” and “What a Wonderful World” along with originals such as Angus’ “Broken Bones” and “Enigma”. (Described by critics as a “Lord of the strings”- The Age (Michael Dwyer). Click here to listen from this release.
Lynn Arriale Trio – The Lights Are Always On (Challenge): “On her just released 16th album as a recording leader, pianist Lynne Arriale, presents ten original compositions honoring the pursuit of justice, as well as giving lyrical praise to doctors, health care providers, as well as defenders of freedom during these troubled times. Having lost her husband during the August and September, 2021 recording periods of this latest issue, Lynne broadens her empathy towards the suffering of others, whether it be COVID-19 casualties, defenders of the Capital during the insurrection of 1/6/21, or the righteous souls of Ruth Bader Ginsburg, and Representative John Lewis. Arriale’s tunes are deeply melodic, and her piano touch is pure, swinging, and makes use of “space,” much like Tommy Flanagan, and Hank Jones. It is a heart felt presentation that is both relaxing and invigorating at the same. Having caught Lynne in an intimate live setting at the Monterey Jazz Festival many years ago, I was caught in the dilemma of staying to hear her entire trio set, or explore the myriad of other acts throughout the Festival begging for my attention. Lynne’s trio easily won out, and I left totally entranced, and excited for rapture she created for her audience. That feeling has endured for me, and this new album just cements my opinion. Its beautiful enveloping journey begins with “March On,” a tribute to activists around the world. Its lilting melody is enhanced by the deeply supportive bass of Jasper Somsen, whose warm tone embellishes the mood. The title track is introspective and searching, as its theme is the need for perseverance even in these troubled times. “Sisters” has a church gospel infused anthemic feel that will get your head nodding in a Sunday morning fashion. The American patriot, Lt. Colonel Alexander Vindman, on the track, “Honor,” is given his proper praise for his brave testimony in the Ukraine hearings, after which he was vilified by the right and his military career tarnished. “Loved Ones,” in a gentle way expresses the hope that we can take the time to appreciate those we love, but maybe neglect the effort to make it a priority in our daily life. It is followed by “Sounds Like America.” It is celebratory in nature, with an uplifting quality, with a nourishing flourish that satisfies the soul – a specialty of Lynne’s. Somsen’s woody bass brought Charlie Haden to mind. “The Notorious RBG” needs little explanation for its inspiration. Drummer EJ Strickland is featured here. “Into the Breach” deals with the ominous Capital insurrection. It’s more intense, and appropriately more driven than the other tracks. “Walk in My Shoes,” the dedication to John Lewis, blends cohesion and power in an effort to honor Lewis’ tenacity. Arriale’s inspiring new release ends properly with “Heroes,” a ballad that puts a finishing touch to a reflective effort that gives hope and inspiration to an audience that could use a musical dose of “relief,” that we so deeply need in the present time.” (https://www.audaud.com/lynne-arriale-trio-the-lights-are-always-on-challenge-records/) Click here and scroll down to listen to samples of the songs on this release.
Dave Brubeck Trio – Live From Vienna (Brubeck Editions): “This may be the only recording of the Dave Brubeck Trio with Dave, Joe Morello and Eugene Wright without Paul Desmond. Paul Desmond missed his flights to Vienna and so Dave, Joe and Gene went on as a trio and their playing was stellar – incredibly strong and swinging this night. A must for every Brubeck fan’s collection.” (https://rebrecordsmd.com/products/live-from-vienna-1967) Click here to listen to “One Moment Worth Years”, when Desmond missed the trip and created a rare amazing trio.
Gerald Clayton – Bells On Sand (Blue Note): “Pianist & composer Gerald Clayton explores the impact and abstraction of time on his ravishing 2nd Blue Note album Bells On Sand, which features contributions from mentor Charles Lloyd on saxophone, father John Clayton on bass, longtime friend and peer Justin Brown on drums, and new collaborator MARO on vocals. “Each musician on the record represents a different aspect of the axis of time and its shifting sands,” says Clayton. “My father and Charles Lloyd, who has been a mentor figure to me, reflect new permutations of my past, and the lineage of elders who have shaped my development; Justin Brown, being my contemporary and musical brother, represents my present; and MARO represents the future—she is part of the next generation, and points to a brand new collaboration.” The music includes new originals, pieces by Catalan composer Federico Mompou and Gerald’s uncle Jeff Clayton, as well as two stunning solo piano versions of the standard “My Ideal.” (https://store.bluenote.com/collections/cds/products/gerald-clayton-bells-on-sand) Click here to listen to the opening song on this release: “Water’s Edge”.
The Diva Jazz Orchestra – The Diva Jazz Orchestra Swings Broadway (Diva Jazz Orchestra): “Hard-charging. Powerful. Immersed in the history of their craft and in total command of their instruments. That’s DIVA – an ensemble of 15 extremely talented and versatile musicians who just happen to be women. They can’t help it – they were born that way. Headed by swinging drummer Sherrie Maricle, DIVA exudes the excitement and force found in the tradition of the historic big bands but with an eye towards today’s progressive sound of originality and verve. With New York as their home base, DIVA performs all over the world playing contemporary, mainstream big band jazz composed and arranged to fit the individual personalities and styles of the musicians themselves. Audiences can expect to hear high-energy performances packed with unique improvisation, spontaneity, and fun. The inspiration for DIVA came from Stanley Kay, one-time manager and relief drummer for Buddy Rich. In 1990, Kay was conducting a band in which Sherrie Maricle was playing the drums. Stanley immediately picked up on her extraordinary talent and began to wonder if there were other women players who could perform at the same level. In 1992 the search was on, and through nationwide auditions the foundation for DIVA was poured. What emerged is the dynamic musical force that holds forth to the present day.” (https://divajazz.com/about/diva/) Click here for “Love Who You Love” from this disc.
Bill Easley – Divesitonic (Sunnyside): “A sixty-year career as a successful professional musician requires flexibility and perseverance. Woodwind master Bill Easley has been able to achieve this feat by being a fantastic musician and putting himself into promising musical situations. He believes the key to his success has been his attraction to diversity in both music and life. On his new recording, Diversitonic, Easley aims to make a personal statement utilizing musical influences that have impacted his life and career. Originally from the small town of Olean in Upstate New York, Easley’s musical career began as a child under the leadership of his drummer father in the family band. As a fourth-generation musician, his early and varied musical experiences gave him a leg up wherever he settled, including New York City, Fairbanks, Alaska, and Memphis, Tennessee. On each of these moves, Easley was able to jump into the local scene and start working immediately. Also, he found himself mentored by many of jazz music’s legendary figures in the process. Easley was a member of George Benson’s group for two years before settling in Pittsburgh, becoming a regular on the Hammond organ soul jazz circuit. During the 1970s, in Memphis, Easley cemented his credentials as a working pro, becoming a regular studio musician at Stax and Hi Records and touring with Isaac Hayes. Easley joined Mercer Ellington and the Ellington Big Band in the mid-1970s and, finally, relocated to New York City in 1980 where he became a regular in the Broadway show bands. He also became a regular in John Lewis’s The American Jazz Orchestra, David Baker’s Smithsonian Jazz Orchestra, and Wynton Marsalis’s Lincoln Center Jazz Orchestra…. Bill Easley realizes that society is divided, whether it be by race, gender, or any other device. He accepts those differences and celebrates them. Easley also believes that music is the equalizer. A universal tonic that brings people together, thus his homespun term that is the title of his highly listenable new recording, Diversitonic. These are the players: Bill Easley (sax & piccolo), Kyle Koehler (Hammond B3), Mark Wells (grand & electric piano), John Hanks (drums ), Beverly Botsford (percussion (tracks 1, 5, 8), Robert Bradford – guitar (tracks 1, 7) and Bill Newton (harmonica (tracks 1, 7, 8)). Click here to listen to the songs on this disc.
Kevin Eubanks Experience – Eubanks Evans Experience (Imani Records): “Welcome to EEE. The story of two musicians from the city of Brotherly Love, who have decided to turn their personal conversations about life, strife, happiness and all that goes with it, into a journey of sound. One on piano. One on guitar. Emotions, calm and tranquil, an unforeseen moment turns into what can be described as a growling pivot to a clearly different musical point of view. It’s a powerful moment when the listener’s energy AND the duo on stage experience a collective artistic conversation.
They both have that homegrown Philly feel for music. Be it Jazz, gritty Funk or “Space is the Place”, all of it was part of their musical childhood which they both developed into unique, separate musical personalities and careers. There’s also a delicately beautiful side to this duo that is just pure and simply put, pretty. Their soon-to-be-released recording has a dream like quality…colors put to music. Yes, bring back the “Pretty.” I’m just saying… Kevin Eubanks: guitarist, poet, speaker, hopeful that the planet is forgiving and allows us to reinvent ourselves as human beings. A gifted versatility allows for a spherical approach, live and recorded music…. Orrin Evans: pianist, composer, teacher, passionate about helping people through the power of artistry in various forms. An independent mind has led him to continuously release poignant recordings on his label Imani Records, led the Grammy nominated Captain Black Big Band, co-led the nerve-rattling collective trio Tarbaby. And yes of course, there’s more. Go deeper… you know what to do. Click here to listen to the songs on this release.
Matt Hall – I Hope To My Never (Summit): “Matt Hall swings his trombone like it was hanging from a tree with his snappy team of Charlie Arbelaez/as, Louis Valenzuela/g, Jason Shattil/p, Mackenzie Leighton/b and Kevin Kanner/dr through a mix of originals. Hall shows his impressive chops on his dramatic “3G” that leads in to the fun cruise of his own “Charlie’s Harley”. The band is reminiscent of vintage Jazz Messengers as Kanner and Leighton lay down an easy hard bop shuffle on “Biscuits & Gravy” and strut under Valenzuela’s clean guitar lines on the bluesy “The Thing About Sloan Hill”. Shattil’s fingers dance on the ivories under Hall’s big brass on the pretty read of “Deep In A Dream” while Arbelaez sears through Kanner’s traffic like a Formula 1 driver as he digs deep on “Spearhead”. Classic sounds that sound as fresh as this morning’s freshly baked almond flavored croissant.” (https://www.jazzweekly.com/2022/03/matt-hall-i-hope-to-my-never/) Click here to listen to the songs on this release.
Lisa Hilton – Life Is Beautiful (Ruby Slippers Productions): “Like all true artists,pianist and composer Lisa Hilton shows great steps of growth on her latest trio album with bassist Luques Curtis and drummer Rudy Royston. Her interpretive skills are revealed in a lurking noir read of Ernie Wilkins’ “Ernie’s Blues” as she takes the baton from the shadowy Curtis. Her own material has her in rich impressionistic form a la Debussy on “Unforgotten Moments, Half Forgotten Dreams” and the nocturnal “Too Hot”, but with an underlying rumble support from Royston, creating a rich taffy pull of musical tension. Her left hand is saloon strong on the rhythmic “Santa Monica Samba” and assertive as she bounces over Royston’s high hat on “Retro Road Trip”, but there’s always an extra layer of thread in each tapestry, warm on ‘Temporary Lullaby” and elegant during “So This Is Love”. On her own, her fingers agonize as she stretches out on the longest piece, the 6 plus minute “Seduction”, but it actually works the best, as her thoughts are patiently explained. There is some composing richness here that deserves to be put to larger ensembles. Hilton is creating a catalogue that deserves to be a Songbook.” (https://www.jazzweekly.com/2022/03/lisa-hilton-life-is-beautiful/) Click here to listen to the songs on this disc.
Calvin Keys – Simply Calvin (Life-force Jazz): “Jazz guitarist Calvin Keys is a legend among soul-jazz fans and known for his lean, muscular single-string solo style, Keys was born in 1942 in Omaha, Nebraska. His first musical influence was his father Otis, a well-known drummer who passed the music bug on to Calvin. In 1971, he signed with Black Jazz label, released a pair of albums and played in the Ray Charles Orchestra. Keys’ unique phrasing and his ability to balance sophisticated jazz harmonics with tough R&B and soul grooves were showcased nightly in the Charles band. By 1975, Keys had relocated to the San Francisco Bay Area, where he became — and remains — an avid participant in its jazz community. He worked in live settings and recording sessions with John Handy, Bobby Hutcherson, Eddie Marshall, Bob Braye, Ed Kelly, Eddie Duran, Bruce Forman, Junius Simmons, and Eddie Moore.He was sidelined in 1997 by heart surgery, undergoing a quadruple bypass. Undaunted, he released the widely acclaimed Detours into Unconscious Rhythms on Wide Hive Records and toured in the U.S. and Europe. In 2005 Keys recorded Calvinesque for Silverado. The album hit number 30 on the jazz charts. In 2006 he released Vertical Clearance followed by Hand-Made Portrait on Silverado.He remains active on the jazz scene today with frequent appearances in San Francisco Bay area venues. He is a member and teacher of the Oakland Public Conservatory (OPC).He also mentors upcoming musicians; gives private lessons; and is a frequent teacher at Jazz Camp west. (https://www.calvinkeysjazz.com/about.html) Click here to listen to one sample from this release.
Brent Laidler – Wouldn’t Be Here Without You (BEL Records): “Tucked deep within an extensive bio that chronicles Brent Laidler’s unique array of musical accomplishments – from renowned instrument repairman to composing and arranging for films, commercials and video games to being a veteran jazz clinician – is the fact that a bout in early adulthood with TMJ led him away from his trumpet playing and back to his first instrument guitar. Perfectly along those lines of great loss sparking new creative possibilities, the theme of his brilliant, blues and bossa infused new album Wouldn’t Be Here Without You changed dramatically after losing his father and his friend and mentor Tony Zamora (director of the Black Cultural Center at Purdue University) within a day of each other. Laidler was going to title the collection after the punchy, playfully swinging romp “Second Chance” (a nod to the fact that it’s his second recording project) but chose instead to turn the set into a grand session of gratitude for the many musicians, teachers and other individuals who have encouraged and helped shape his fascinating musical journey. These include everyone from his high school band director (the lush and lyrical “Walt’s Waltz”) to Chick Corea (borrowing chord changes from “Spain” to add extra pop to the bustling title track) and his old bandmates in a variety of Southern and Midwestern blues bands (“Foo’s Blues,” a dynamite showcase for Laidler’s own dazzling chops as well as organ master Jamie Newman). Though his fluid, richly soulful guitar is a dominant thread throughout and he shines on his briskly played, all too brief solos on tunes like the snappy and exotic “You Aint’ the Bossa Me” and the moody, impressionistic “City By The Way,” Laidler’s lifelong passion for Horace Silver ensures that it’s a true, horn inflected ensemble album featuring the dazzling harmonic interplay (and individual soloing, of course) between trumpeter/flugelhornist Mark Buselli and saxophonist/flutist Ned Boyd.” (https://www.jwvibe.com/single-post/brett-laidler-wouldn-t-be-here-without-you) Brent lists Jim Hall, Kenny Burrell, Barney Kessell and Pat Martino as his influences and reflecting on those bluesy boppers will probably give you a clearer picture of his playing than any attempt I could make to break it down for you. Bossas and sambas make up a big part of this album, but even those Latin tracks carry a strong B3 driven soul jazz flavor, The organist is Jamie Newman, who should be appreciated for how he flavors his organ sound depending on the track. For the Latin numbers he leans toward that dry lean sound favored by the Brazilian organists, on the hard boppers he goes for that Jimmy Smith percussion, and on the blues tracks he is liable to lay on that soulful vibrato and drenching Leslie. The rest of the band is Mark Russell on trumpet, Ned Boyd on sax, Scott Pazera on bass and Richard ‘Sleepy’ Floyd on drums. None of these guys are big names, but all are capable soloists who go for that in the pocket rhythmic punch instead of excessive flamboyance.
All of the tracks on here are great and could easily find a place on contemporary jazz radio. One top number is “Sunday Mood”, with its noire crime jazz sound featuring Ned on the bari sax. Another top number is “City by the Bay”, with its mysterious mood that is based on the image of a midnight dessert caravan finally spotting its distant destination. (https://www.jazzmusicarchives.com/album/brent-laidler/wouldn%E2%80%99t-be-here-without-you) Click here to listen to “Sunday Mood” on this release.
Tony Monaco – Four Brothers (Chicken Coup Records): “The ‘organ marvel’ returns with arguably his best recording to date -‘Four Brothers’ captures incredible sound and energy and swings like hell! GENRE: Jazz/Funk/Blues/Jazz Organ – COMPOSERS: Tony Monaco, Jorge Ben Jor, Mose Davis, Kevin Turner, Don Patterson, Harold Arlen/Johnny Mercer, Billy Strayhorn….”
“No one needs to explain celebrating the first 50 years of his life’s work, especially when his colorful career has earned him an international profile! Furthermore, such a guy might be excused for feeling jubilant upon the release of his twelfth exciting new recording! But Tony has yet more in mind. ‘After 50 great years I want to take the opportunity to honor and thank my hometown, Columbus. To find myself recognized as a part of this town’s vibrant musical scene is personally very rewarding to say the least! But this is also my chance to shine a light on one of my major teachers, Columbus’ own Don Patterson, who is not yet fully recognized among this city’s many great Hammond B3 players through the years.’ For this hard-swinging new recording Tony displays his usual unerring instincts by hand picking some of Columbus’ finest talent to join him. Edwin Bayard, saxes, Kevin Turner, guitar and Willie Barthel III, percussion, have lent their considerable individual talents to the maximum collective powerhouse effect Tony’s music demands. But there’s more to it than the great chops and the musicality! The friendship and conviviality of these sessions are perfectly clear as we listen! Lots of swingin’ cookin’ joy! Your pleasure is guaranteed! –from the notes written by Vaughn F. Weister ” Click here to get a sample of the music on this disc.
Ronnie Earl & The Broadcasters – Mercy Me (Stony Plain): “Over a 45-year career as one of the world’s top blues musicians, Ronnie Earl has transfixed audiences with his distinct sound of emotion-laden blues. On his own and with his band The Broadcasters, Ronnie is a four-time Blues Music Award winner as “Guitar Player of the Year,” with 28 albums and multiple chart-topping compositions in his catalogue. Ronnie sets the songs of this album into context with a quote from Rev Dr Martin Luther King Jr prominently placed in the album art: “The Blues tell the story of life’s difficulties, and if you think for a moment, you will realize that they take the hardest realities of life and put them into music, only to come out with some new hope or sense of triumph.” These 12 songs present triumphant Blues – uplifting and hopeful songs that point to a better tomorrow, including “Soul Searching,” “A Prayer for Tomorrow,” “The Sun Shines Brightly” and “Your Love Keeps Lifting Me Higher And Higher.” Celebrating artists who have contributed to the theme of hope, Mercy Me includes “Blues for Ruthie Foster,” “Blues for Duke Robillard” and “Dave’s Groove” (co-written with Dave Limina)…. Ronnie Earl, born Ronald Horath, has led a storied music career beginning with his early years in Boston while studying at Boston University. He graduated with a dual degree in Education and Special Education in 1975. Ronnie would teach for a few years while playing guitar at night before joining and touring with John Nicholas and The Rhythm Rockers, Sugar Ray and the Bluetones, Roomful of Blues, and finally with his band, The Broadcasters. Ronnie has shared the stage with B.B. King, Otis Rush, Bobby Blue Bland, Albert Collins, Big Mama Thornton, Etta James, Eric Clapton, The Allman Brothers, Jimmie Vaughan, Kim Wilson, and the Fabulous Thunderbirds, Stevie Ray Vaughan, and Leonard Bernstein, among many others. What Ronnie pulls from wood, wire and old Fender amplifiers, music writer Ted Drozowski once wrote, “isn’t so notes as the sound of the human heart beating with you, crying under the world’s weight or acknowledging the inevitability of another sunrise. “Perhaps being the son of two Holocaust survivors has given Ronnie Earl a keen insight into the condition, which has manifested itself in his musical delivery. As Ronnie pulls from wood, wire and old Fender amplifiers, music writer Ted Drozdowski once wrote, “isn’t so much notes as the sound of the human heart beating with you, crying under the world’s weight or acknowledging the inevitability of another sunrise. “Perhaps being the son of two Holocaust survivors has given Ronnie Earl a keen insight into the human condition, which has manifested itself in his musical delivery. As Ronnie celebrates more than 30-plus years of sobriety, he’s often quietly devoted his time and donated concerted proceeds to help people affected by substance abuse. And as someone who once studied to be a special education teacher, he recalls with particular fondness a 10-year period when he volunteered at LifeLinks Inc., a nonprofit in Chelmsford, Mass. that helps people with intellectual and developmental difficulties. Source: Blues Magazine – https://www.bluesmagazine.nl/ronnie-earl-mercy-me/https://www.bluesmagazine.nl/ronnie-earl-mercy-me/ Click here to listen to the closing song on this release.
Beth Hart – A Tribute To Led Zeppelin (Provogue): “The Grammy-nominated powerhouse vocalist Beth Hart takes on one of her most profound undertakings to date by channelling the legendary voice of Robert Plant on A Tribute To Led Zeppelin…. If you were to rewind, you could say the story for a Led Zeppelin album started further back; in May 2004 Hart prowled the stage at the Paradiso in Amsterdam for an incendiary performance of “Whole Lotta Love”. The song became a semi- regular fixture in her setlist over the years, including a memorable performance with Slash.As a child, the sound of “Black Dog” traveled from Beth’s neighbor’s house into her orbit. Her brother introduced her to the heavy rock of Zeppelin and Black Sabbath. Her major-label debut came on Atlantic with the 1996 release of Immortal. The same label introduced Led Zeppelin to the world in 1969. Earlier on in Beth’s career, former VP of Led Zeppelin’s Swan Song label, Alan Callan, recommended Beth contact Jeff Beck to work together. Hart and Beck have gone on to form a beautiful friendship. Beck and Jimmy Page are also friends, and for a while, bandmates in The Yardbirds. After Beck’s departure from the band, they would eventually become Led Zeppelin. After her phenomenal performance at the 2012 Kennedy Center Honors for Buddy Guy, she received a standing ovation from Robert Plant, Jimmy Page, and John Paul Jones.
It’s fitting that “Whole Lotta Love” is the opening song of the album. From there, it’s a non-stop journey through “Kashmir”, an enchanting version of “Stairway to Heaven” to a James Brown-esque funky strut of “The Crunge.” Inspired medleys “Dancing Days/When The Levee Breaks” and “No Quarter/Babe I’m Gonna Leave You Now” stand on both sides of “Black Dog.” The penultimate song, “Good Times Bad Times” leads into the orchestral ballad “The Rain Song,” which closes the album. Talking about the music and legacy of Zeppelin, she says, “it’s so beautifully done, it’s timeless. It will go on forever. Sometimes people come along, and they’re from another planet, and they make these pieces of art which will forever be.” Hart is recognized as one of her generation’s most talented voices. She has sold out tours worldwide, including performances at historic venues such as Nashville’s Ryman Auditorium, London’s Royal Albert Hall, and the Ziggo Dome in Amsterdam. She’s topped the Billboard Blues charts six times, gone double platinum and had a string of Top 10 charting albums across Europe. On a final thought, Beth pauses and reflects to say, “this Zeppelin album allowed me to get all my rage out, and for that, I’m really grateful.” (https://www.bethhart.com/portfolio/a-tribute-to-led-zeppelin-2022/) How weird is that? Here is Hart! Click here for her version.
Horojo Trio – Set The Record (Stony Plain): “2020 International Blues Challenge Winner (representing the Ottawa Blues Society), HOROJO Trio is a soul rockin’ rhythm & blues act that features drummer Jamie Holmes, singer/keyboardist Jeff Rogers, and guitarist/singer JW-Jones, who was named the year’s Best Guitarist at the IBC. Jeff is known as one of the hardest working artists in the nation’s capital clocking over 250 shows per year. The Ottawa Citizen says “his voice practically bowls you over with intensity, as sweet, rich and gooey as molasses in a heatwave”, while Nick Krewen (Globe & Mail, Grammy.com, Billboard) calls JUNO nominee JW-Jones “a frequent resident of Billboard’s Top 10 Blues charts and roots radio favourite”. Jamie is one of the most versatile drummers in the country and has toured throughout North-America and Europe and recorded in Nashville with Grammy winning producer Tom Hambridge. The trio came together organically from a chance jam session after a corporate event that was so inspired that it left the audience and the musicians wanting more. Even before their first gig, they had already been called an Ottawa “super group”, and while they admit the band name (derived from the first two letters of each of the members’ last names) is unusual, the future certainly looks bright for the exceptional HOROJO Trio. Their debut album, Set The Record will be released on Stony Plain / Warner Music Canada on April 1, 2022.” (https://horojotrio.com/bio) Click here to listen a song from this release.
David Lumsden – Rooted In The Blues (Self-produced): ““Lumsden offers up a great variety of blues. These ten tracks highlight David and his bandmates’ – Gary Davis, Jim Engel, Tim Bahn, and Kylan Davis – talent across the whole spectrum of the blues.” (Bob Paleczny, WEFT 90.1FM & President, Prairie Crossroads Blues Society) Lumsden’s sophomore album, “Rooted In The Blues,” could easily be described as a tribute to those heady days when guitar heroes dominated the airwaves and turntables of young music fans. The ten-song collection of three original tracks and seven reimagined classics run the gamut of blues, blues rock shuffles, boogies, a countryfied train beat, FM pop and a few surprises. Lumsden is backed by his hard-working band featuring Tim Bahn on keys, Gary Davis on bass and drummer Jim Engel, who together have built a firm foundation for this six-string salutation. The cavalcade begins with a faithful rendering of a Chuck Berry prototype from Eddy Clearwater, ‘I Wouldn’t Lay My Guitar Down,’ complete with barrelhouse piano and rumbling baritone sax. Lumsden’s ‘Runaway (Blues Train)’ is a down home chicken pickin’ good time with a classiccountry train beat and hot licks reminiscent of Nashville aces Alvin Lee and Danny Gatton. JohLee Hooker created the mold for electric guitar with ‘Boogie Chillen’’ in 1948, and Lumsden’s ‘Ruthless Boogie’ follows that patented form and mashes in a little ZZ Top and Deep Purple to bring it into this century. The band then transforms Lieber/Stoller’s ‘Hound Dawg’ into a 70’s funk number fueled by electric piano and more baritone sax from Ian Buschmann. The lovely ballad ‘Your Memory,’ composed by Lumsden’s old friend, jazz guitarist Greg Pasenko, sits in the middle of the set as a fine palette cleanser and reminds us that six strings also come in the acoustic variety. The bump and grind blues, ‘Hooked On Something,’ is a revival of the time Lumsden spent with guest vocalist Reggie Britton and his band, Black Magic Johnson. The spot-on instrumental cover of ‘Josie’ not only pays homage to Guitar God Larry Carlton, but also to the vaunted session players, who created a catalog of hit songs for Steely Dan. The 12-bar blues, ‘Everyday I Have The Blues,’ that became a blues hall of fame standard with renditions recorded by numerous artists, is Lumsden’s opportunity to acknowledge the impact on his life of all those records. He then honors arguably the best electric guitarist of all time with a loving ‘Ode To Jimi AKA Slow Burn’ quoting several well-known themes from the Hendrix Experience sonic lexicon. Recorded live at the end of 2021 ‘Everything Is Broken,’ serves as a charming bonus track for the collection featuring Kylan Davis, son of the bass player, on snarling lead vocal. David Lumsden has spent his life as a student of the guitar arts and pays it forward with this heartfelt offering.” (Rick J Bowen) Click here to listen to a live performance from a few years back.
Miss Bix – Bring It (Blue Heart Records): “The concept of this collection of songs is inspired by the home of the blues, the Crossroads in Clarksdale, Mississippi. Leslie Bixler (aka Miss Bix) spent several months there soaking in the culture and learning the blues from the founders themselves. The songs reflect the culture that permeates the south, “Voodoo Man”, “Black Widow”, “Slave To The Grave”, and “Crazy Bout You” all have the smoky sensuous sound of the bluesy south. At the same time, Bixler creates a sound and voice that is all her own, and each song tells a different story.” All of the songs on this release are originals. Click here to listen to “Red Walls”, one of the 13 originals songs on this release.
Kopasetically,
Professor Bebop
