New Jazz & Blues – 2/15/2022
New Jazz & Blues – 2/15/2022
New Jazz Releases:
Joe Alterman – The Upside Of Down (ropeadope): “Atlanta native Joe Alterman expresses a certain upbeat naivete, with a broad smile and bright eyes that make you feel welcome. One would not guess that this is a man hailed by greats; Ramsey Lewis describes his piano playing as ‘a joy to behold’, Les McCann states ‘As a man and musician he is already a giant’. Journalist Nat Hentoff championed three of Alterman’s albums, as well as his writing (Joe wrote liner notes to three Wynton Marsalis/JALC albums), calling one of Joe’s columns “one of the very best pieces on the essence of jazz, the spirit of jazz, that I’ve ever read, and I’m not exaggerating…. fresh and joyful intent is captured on Joe Alterman’s new release The Upside Of Down. Taken from two live shows at Birdland in November 2019 and February 2020, the album reminds us of a not-too-distant time when we gathered and danced. Joined by Nathaniel Schroeder on bass and Marlon Patton on drums, Alterman cruises gently and delightedly through timeless selections from Les McCann, Oscar Peterson, Henry Mancini and more, with some of his compositions in the mix.” (https://www.joealtermanmusic.com/press-kit) Great straight-ahead swing thanks to Alterman’s swing and joy! Click here to listen to the songs on this release.
The BBB – The Pugilist (Dig-It): “Bernie Dresel has been one of the busiest studio and live musicians in the world as both a drummer and percussionist since moving to Los Angeles in 1983 after graduating from the prestigious Eastman School of Music. He has traveled the world, occupying the coveted drum chair for Grammy Award-winning Gordon Goodwin’s Big Phat Band since its inception in 1999. And also, for an overlapping 15 years (1992 to 2006), he was the drummer for the multi-Grammy Award-winning Brian Setzer Orchestra, selling close to 4 million records. Modern Drummer magazine’s readers’ poll named Bernie “Best Big Band Drummer” and Drum! Magazine has put him on their list of “53 Drummers Who Made a Difference in the ’90s” as well as honoring him with a Drummie® for Best Big Band Drummer.
Bernie Dresel’ s jazz orchestra, The BBB, is without question one of Los Angeles’ most exciting large jazz ensembles, if not on the planet. It is one of the most innovative and original hard-swinging large jazz ensembles ever. The BBB provides potent testimony to the sheer exhilaration of big band jazz…a combination of intense swing and fiery soloing, as well as tight ensemble playing, powered by Bernie Dresel’s extraordinary drumming talents. The BBB is comprised of 16 seasoned pros on the Los Angeles studio scene. Populated by LA’s finest players, The BBB delivers a contemporary, highly original sound featuring the witty, intricate, and hard-swinging compositions of established and up-and-coming composers and arrangers. And like those other famous jazz orchestras such as Buddy Rich’s, Count Basie’s, Woody Herman’s, Stan Kenton’s, Maynard Ferguson’s, Thad Jones/Mel Lewis’ and Gerald Wilson’s, the music and delivery of The BBB’s music is nothing less than astonishing when experienced live. The sound has a contemporary, dynamic, and hard-swinging energy, with a focused edge to it that is like no other jazz orchestra, though, reminiscent of Buddy Rich’s ensembles. The band make-up is unique in that there is no piano but jazz/rockin’ electric guitar instead, in addition to four trumpets, four trombones, five saxophones, and upright acoustic slap bass and drums. When people hear Bernie’s BBB, the first thing that hits them is its energy and intensity…” (https://www.berniedresel.com/aboutbernie) I regret I am unable to find a sample from this release.
Cortez / Williams Project – Hermanos (Self-produced): “The musical partnership and friendship between guitarist Chris Cortez and trumpeter Larry Williams go back to the 1980s. The two composers worked together to develop and refine their work and had a big impact on the jazz scene in Orlando, Florida. Their compositions functioned as the backdrop for what was Orlando’s version of a loft scene. The presence of world class players, drawn to the area to work at Disney and get off the road, led to a thriving community of top-level players. Cortez and Williams presided over several groups that drew from that well of available players. Their paths diverged over the years, but they remained focused on their original music. Cortez formed the record label Blue Bamboo Music and eventually resettled back in Orlando to create Blue Bamboo Center for the Arts. Williams became an A-list session player in Los Angeles and released a massive body of work on his own label. Collaborations were often discussed but the timing never seemed to be right. In 2012 Larry shocked the world when he announced he was retiring from the trumpet. Although he seamlessly shifted to guitar, the loss of his singular voice was a major blow to fans all over the world. Fate stepped in when Larry’s wife Joy passed away and he decided to return to Orlando in the fall of 2020. Shortly after arriving back home Larry had a vivid dream where he was in a club looking down the barrel of a very unusual flugel horn, playing “Moonlight In Vermont.” The dream was repeated and one day, while visiting the new music shop of a friend, he walked into the store and found it empty of merchandise, except for a lone flugel horn hanging on the wall. Not just any horn… the horn from the dream. Thus began the journey back to the trumpet. Much to the delight of all, and in record time, the fireworks that we remember are fully back on display.” (https://home.nestor.minsk.by/jazz/news/2021/12/2901.html) Cortez and William are joined by Dan Jordan (tenor sax, percussion), Bob Thornton (piano), with alternating drummers Walt Hubbard, Jeremy Katalenic and Jeff Sipe and Marco Bojorquez and Marco Bojorquez on bass. Click here for the release party for this release.
The DeFade Family – New Frontiers (Manchester Craftsmen Guild): “Three generations forging new frontiers with their music. The DeFade family is synonymous with Jazz in Pittsburgh and three generations of DeFade’s are celebrated on this new CD. With Ray A. DeFade and Eric DeFade on saxophones, Ray DeFade on drums, and Anton DeFade on bass, the album has original music and standards and includes other family members with a full big band to showcase the big band arrangements of Ray A. DeFade.” (https://itsonlyrockandroll.info/jazz/index.php/2021/11/07/the-defade-family-new-frontiers-2021/) Click here to listen to samples of the songs on this disc.
Sasha Dobson – Girl Talk (Self-produced): “Singer, composer, master lyricist and multi-instrumentalist Sasha Dobson has performed across the world as both a leader and first-call collaborator. The stylistic chameleon has released projects with such defining voices as Norah Jones, Chris Byars, Don Was, Jay Lane, Jesse Harris, Mikael Jorgensen and Charlie Burnham; she has composed with Bill Murray, opened for Willie Nelson and toured with Neil Young. Now, with the release of Girl Talk, Dobson issues her most personal recording to date. Ten tracks of original compositions and enduring favorites feature a core trio of Neal Miner on bass, Dred Scott and Kenny Wollesen on drums and album guest artist Peter Bernstein on guitar — and unveil Dobson’s intrinsic fascination with spontaneity and the resonant bebop tradition.” (https://www.sashadobson.com/music) Click here to listen to the songs on this release.
Giacomo Gates – YOU (Savant): “The criteria for defining jazz singing will probably be argued for the rest of time. But no matter which side of the argument one may be on, there can be no doubt that Giacomo Gates is an authentic jazz vocalist. Heavily steeped in the traditions of the original vocal improvisers from Louis Armstrong and Ella Fitzgerald through their modern counterparts Betty Carter and Leon Thomas, Giacomo’s own approach draws most heavily from the bebop-rooted masters like Jon Hendricks, Babs Gonzales, King Pleasure and most of all, Eddie Jefferson. Like his influences, Gates has forged his own unique path.In his own words, “In this kind of music it’s about intention, honesty and what comes through in your voice – the Experience of Life.” Without question, Giacomo’s life experience is unlike any other jazz artist that may come to mind. Blessed with a full-bodied and mellifluous voice, extraordinary rhythmic precision and an unerring sense of lyricism, Gates’ total command of the vernacular, boundless creativity and exuberant passion set him apart from nearly every other vocalist on the scene. However, he didn’t display his talents to the public-at-large until 1990, at 40 years of age….Like his mentors, Gates would sometimes translate great instrumental solos into Vocalese, including the works of Lee Morgan, Chet Baker, Gene Ammons, Charlie Rouse and many others, also penning lyrics to classic jazz compositions. In citing his influences, Giacomo states “Some of my favorite singers are Dexter Gordon, Ben Webster and Lester Young. They were singing through the horn. If that isn’t singing, I don’t know what is!” (https://giacomogates.com/biography/) “The context of many songs written and recorded, are composed by people with ‘I’ problems…but not these songs. All of these songs are about you.” – Giacomo Gates (https://giacomogates.com/epk/) I regret that I am unable to find a sample from this disc.
Eric Goletz – A New Light (CAP – Consolidated Artists Publications): “Eric Goletz is back with his second album as a leader called ∫. After a thirty-year career as a studio musician and first-call horn player in New York City, Goletz is now releasing his own material. He released his debut album, Into the Night, in March of 2021. With A New Light, Goletz is at the helm of a big band with strings playing a mix of musical styles influenced by his diverse background, skills, and taste. The compositions and arrangements are all a deeper glimpse into his musicianship. Goletz says, “I think of music as having endless possibilities. It’s a journey where you can never be absolutely sure where it will lead. Although my background is in jazz and classical music, I spend much time listening to other forms of music such as pop, rock, Country, Motown, funk, Latin, and even Heavy Metal. There’s always something new to learn, and I try to keep an open mind to the simple joy of listening to music.” “A New Light” has a funky 70s vibe, with the ensemble showing their finely tuned reading and ensemble playing chops. Goletz takes the lead as well as turns in two contrasting solos. Guitarist Henry Heinitsh takes a developing solo too. The ensemble is in sync, and the combination of orchestrated melodies and building backgrounds produce a unified sound throughout the song. The solos are balanced with ensemble sections, and Goletz’s writings style builds motifs with counterpoint and harmonic textures. This selection will certainly keep your attention to proceed further into the album.” (https://thejazzword.com/2022/01/eric-goletz-a-new-light-review/) Click here to listen to samples of the songs on this release.
Jazzmeia Horn & Her Noble Force – Dear Love (Empress Legacy): “Singer Jazzmeia Horn wraps herself in richly textured big band arrangements on her third studio album, 2021’s vibrant Dear Love. The album, which follows her Grammy-nominated 2017 album, Love and Liberation, finds her joined by her 15-member big band, Noble Force, featuring pianist Keith Brown, bassist Eric Wheeler, and drummer Anwar Marshall as well as alto saxophonist Bruce Williams, trumpeter Freddie Hendrix, trombonist Corey Wilcox, tenor saxophonist Keith Loftis, and others. Horn is a dynamically gifted performer with a commanding, authentically soulful style that evokes the in-the-flesh artistry of singers like Betty Carter and Dee Dee Bridgewater. One second she’s sinking into a dusky vocal melody with ease, the next she’s soaring to the sky with an elongated, shimmering falsetto as on her dazzling rendition of the standard “He’s My Guy.” She also offers several of her own adept original compositions here, including the languid “Let Us (Take Our Time)” and the forceful, Afro-Cuban influenced “Strive (To Be).” That latter track also details Horn’s holistic, socially conscious world view, as she takes on such heady issues as climate change, mass incarceration, and the need for people to free themselves from standard ways of being in the world. Other transformative moments, artistic and otherwise, pop up throughout Dear Love. She mutates the Beatles’ “Money Can’t Buy Me Love” into a swooning, orchestral R&B ballad and includes several vocal interludes featuring her multi-tracked vocal harmonies that spotlight her immense control as both a singer and arranger. In fact, Horn arranged all of the music on Dear Love, framing herself in organic, harmonically engaging horn parts that bring to mind the work of trumpeter Thad Jones in the ’60s and ’70s. More than just a transcendent jazz vocal album, Dear Love is a masterful amalgam of Horn’s all-encompassing artistry. (https://www.allmusic.com/album/dear-love-mw0003569933) Click here to listen to samples of the songs on this release.
Pete Malinverni – Plays Leonard Bernstein – On The Town (Planet Arts): “Pianist Pete Malinverni pays tribute to iconic composer Leonard Bernstein with his all-star trio featuring bassist Ugonna Okegwo and drummer Jeff Hamilton…. Inspired by an inspiring evening spent with Leonard Bernstein, Pete joins forces here with two of today’s masters, Ugonna Okegwo, bass, and Jeff Hamilton, drums. Recorded at Van Gelder Studios, this is a fresh take on Bernstein’s New York-centric oeuvre that reveals Malinverni’s artistic impulse while highlighting the intrinsic beauty of Bernstein’s compositions…. (https://www.hbclub.org/3137939096-pete-malinverni-on-the-town-pete-malinverni-plays-leonard-bernstein-2022-hi-res.html)
Pianist, composer, educator Pete Malinverni has been a fixture on the New York City Jazz scene since moving there in the early 1980s from his hometown of Niagara Falls, NY, where he’d begun Classical Piano studies at the tender age of six. Since moving to NYC, Pete has recorded sixteen times as a leader, including in solo piano, piano/violin duet, trio, quartet, quintet, big band and choral contexts. All of his recordings have been received by critics and the public alike and have seen heavy airplay on all platforms, from the radio to the internet.
Throughout his time in NYC, Pete has established performing, recording and inspirational contact with a host of masters on the scene there, including Joe Lovano, Vernel Fournier, Charles Davis, Mel Lewis, Dennis Irwin, Karrin Allyson, Steve Wilson and many, many others. These collaborations have happened in studios and on stages like the Carnegie Recital Hall, the Caramoor Festival, the Piccolo Spoleto Festival, the Rome Music and Image Festival, the Santiago (Chile) Jazz Festival and others, as well as in New York’s great clubs, such as the Village Vanguard, Birdland, the Blue Note, the Village Gate, Bradley’s, Smalls and Mezzrow. These experiences, along with his work in inspirational settings such as the Devoe Street Baptist Church in Brooklyn (Minister of Music for eighteen years), the Westchester Reform Temple in Scarsdale, NY (Pianist and Conductor) and the Pound Ridge Community Church (Director of Music), have convinced him that music must be treated as a sacred gift, to be passed on freely to fellow musicians and listeners, with passionate control. Throughout his time in NYC, Pete has established performing, recording and inspirational contact with a host of masters on the scene there, including Joe Lovano, Vernel Fournier, Charles Davis, Mel Lewis, Dennis Irwin, Karrin Allyson, Steve Wilson and many, many others. These collaborations have happened in studios and on stages like the Carnegie Recital Hall, the Caramoor Festival, the Piccolo Spoleto Festival, the Rome Music and Image Festival, the Santiago (Chile) Jazz Festival and others, as well as in New York’s great clubs, such as the Village Vanguard, Birdland, the Blue Note, the Village Gate, Bradley’s, Smalls and Mezzrow. These experiences, along with his work in inspirational settings such as the Devoe Street Baptist Church in Brooklyn (Minister of Music for eighteen years), the Westchester Reform Temple in Scarsdale, NY (Pianist and Conductor) and the Pound Ridge Community Church (Director of Music), have convinced him that music must be treated as a sacred gift, to be passed on freely to fellow musicians and listeners, with passionate control. (Bio – Pete Malinverni) Click here to an introduction “On The Town”.
Bill O’Connell – A Change Is Gonna Come (Savant): “The title of pianist Bill O’Connell’s latest release suggests that it was created as a direct response to the political, racial, and pandemic-related upheaval that the nation has faced over the past two years. A Change Is Gonna Come is a take on the current climate of America set to the kind of eclectic, impassioned groove that O’Connell has had a knack for building as a leader and sideman for the last 40-plus years. Known largely for his Latin-jazz background, having sharpened his chops in the late ’70s with legendary Cuban bandleader Mongo Santamaría, O’Connell has authored an outstanding catalog of compositions and maintained a connection to straight-ahead jazz via runs with Sonny Rollins, Chet Baker, and Emily Remler. On this record, he leads a stellar group that includes saxophonist Craig Handy, bassist Lincoln Goines, and drummer Steve Jordan. The recording unfolds with the John Coltrane tune “Moment’s Notice,” which Jordan dominates with his pulsating groove. There are a few standards on the record, such as “My Foolish Heart,” and on them (as on “Moment’s Notice”) the band adds fresh coats of paint to the original surface. O’Connell’s originals, meanwhile, are a floorshow for compositional genius. “Sun for Sunny” is an awe-inspired tribute to Sonny Rollins; Handy, a Rollins acolyte, lights the calypso-tinged tune on fire. “Covid Blues” reflects the uncertainty and chaos of the pandemic, but on “Chaos,” O’Connell’s approach is more playful. He leads Sam Cooke’s “A Change Is Gonna Come” with an elegant delicacy, and his own compositions showcase a more optimistic view of what may be ahead.” (https://jazztimes.com/reviews/albums/bill-oconnell-a-change-is-gonna-come-savant/) Click here to listen to samples of the songs on this release.
Songon – Songon (John Enrico Douglas): “Influenced by John Enrico Douglas’ years playing and recording Dominican, Cuban and Puerto Rican music with Radhy Montero y Su Orchesta and Elegua in Boston in the 1970s, and The L.A. Salsa Society, Bongo Logic and Charangoa in LA in the 1980s–90s, Songon plays John’s originals and his arrangements of cover songs in styles ranging from rumba, guajira, cha–cha and songo to straight-ahead Latin Jazz.” (https://songon.hearnow.com/) Click here to listen to samples of the songs on this release.
Larry Vuckovich Trio – Street Scene (Tetrachord): “Pianist Larry Vuckovich has recorded in a variety of settings in his career, ranging from swing to music that reflects his roots in Eastern Europe. Street Scene is one of his finest showcases for it puts the focus on Vuckovich’s skills on the piano in a trio that on four selections is augmented by one or two Latin percussionists. The Latin pieces, which include “As Time Goes by Mambo” and “Blue Bohemia Suite,” are particularly infectious. The trio numbers, which include standards, a few obscurities (including Sonny Clark’s “News for Lulu”) and some originals by the pianist, are swinging, boppish, and inventive, attached to the tradition but not predictable. With stimulating support from bassist Larry Grenadier and drummer Akira Tana, this is an easily enjoyable and recommended release from one of San Francisco’s finest jazz pianists.” (https://www.allmusic.com/album/street-scene-mw0000428491) Click here to listen to samples of the songs on this disc.
New Blues:
Bernard Allison – Highs & Lows (Ruf): “Perhaps the best insight into Bernard Allison’s blues-rock funky sound is his dad, Luther’s admonition, “don’t let them label you like they labelled me, as Chicago blues.” This is Allison’s fifth studio album with famed producer, Jim Gaines, and his twentieth overall. True to Allison’s wont, this one has hard-core blues, R&B, rock, and his trademark funk. Allison gathers bassist George Moye and guitarist Dylan Salfer from his road band with in-demand Memphis session drummer Steve Potts, keyboardist Toby Lee Marshall, and saxophonist Jose Ned James. In addition, his godfather, Bobby Rush co-writes, sings, and plays harp on the outstanding track “Hustler.” The searing guitar of Canadian great Colin James enlivens “My Way or the Highway.” Eight of the eleven are Allison originals or co-writes. As is customary he honors his dad with two of Luther’s tunes. The remaining tune, “Side Step” with its slicing slide guitar, is from Gaines. Perhaps the best insight into Bernard Allison’s blues-rock funky sound is his dad, Luther’s admonition, “don’t let them label you like they labelled me, as Chicago blues.” This is Allison’s fifth studio album with famed producer, Jim Gaines, and his twentieth overall. True to Allison’s wont, this one has hard-core blues, R&B, rock, and his trademark funk. Allison gathers bassist George Moye and guitarist Dylan Salfer from his road band with in-demand Memphis session drummer Steve Potts, keyboardist Toby Lee Marshall, and saxophonist Jose Ned James. In addition, his godfather, Bobby Rush co-writes, sings, and plays harp on the outstanding track “Hustler.” The searing guitar of Canadian great Colin James enlivens “My Way or the Highway.” Eight of the eleven are Allison originals or co-writes. As is customary he honors his dad with two of Luther’s tunes. The remaining tune, “Side Step” with its slicing slide guitar, is from Gaines. The opener “So Excited” is an ebullient response to be able to tour again while the funky title track with uncredited background vocals is lyrically in synch with the blues idiom. “Strain On My Heart” veers into R&B. These all set up the sixth track, co-written with Rush and lyricist Andrew Thomas. It’s unmistakably Rush’s show through and through from the funky beat to his trademark harmonica, to his lines as protagonist, “I’m a natural-born hustler…It’s all in my blood…My name is Bobby Rush.” Accompaniment of Allison on organ guitar and James on sax fills in all the spaces. Bernard takes his two Luther songs back-to-back, “How You Got It” and “I Gave It All,” injecting funk into the call and response of the former and takes a smoother blues route through the latter with Marshall’s B3 and James’ stabbing sax punctuating the anguished choruses and Albert King-like guitar leads. “My Kinda Girl” brings back the funk and hints of R&B while “Satisfy Her Needs” again features his organ guitar and a similar vibe. Allison wraps it up with another standout track, “Last Night,” featuring the robust sound of sax, B3, and stinging guitar leads as it shifts the initial choppy tempo into a smoldering slow blues, reflecting the changing moods of a man chasing his elusive lover. Allison’s spiraling lead takes it out. Allison, as he proven through his career, took his dad’s words seriously. He’s not easily pigeonholed, offering up a potpourri of styles, mostly bound together by his hallmark funk. Thankfully, too, he stayed away from the wah-wah pedal this time. The album mostly delivers an upbeat, joyous vibe commensurate with Allison’s joy in being able to tour again.” (Jim Hynes) Mellow but solid from end to end! I regret I am unable to find samples from this fine release. Regina Bonelli – Truth Hurts (True Groove): Regina Bonelli has a full, straight-forward voice and style. She also co-wrote half of the songs on this release and plays keys on half of the songs. She is backed by the “True Groove All-Stars” featuring Tomas Doncker (guitars), Mark Henry (sax, percussion), Kevin Jenkins (bass), James Dellatacoma (guitar), Nick Rolfe (organ, piano) and Leroy Thompson (drums). I regret I am unable to post any samples.
Kurt Crandall – Starts On The Stops (YesterYear): “Kurt Crandall organized two great bands to join him and record live in the studio over two days. The first day he was backed by great regional jazz players including Bill Heid – a hard bop B3 master and storied blues/jazz pianist. Bill played on the blues classic – Somebody Loan Me a Dime by Fenton Robinson. The next day he took in his local blues band – John Sheppard (Iguanas, Johnny Sansone) on bass, along with local drum legend Johnny Hott (Cracker, Gutterball, House of Freaks) in addition to the great Midwestern guitarist– Karl Angerer (Lee McBee, RJ Mischo). Also added to the mix were the piano stylings of North Carolina based Clark Stern (Nappy Brown, Bob Margolin) and Sean Costello protégé and former Atlanta resident, Reid Doughten on guitar. The resulting music is organized into two sets – much like the way one would arrange a night of live music.” (https://kurtcrandall.com/music) Click here to listen to pieces of the songs on this release.
Chris Ford – The SuBourbon Blues Project: Blues On The Edge (SuBourbon Blues): “So very excited to announce the upcoming release of my 2nd album, “Blues On The Edge”, in January 2022! Working with world class producer, engineer, and guitarist, Johnny Garcia on this album has helped me continue to grow as a writer and singer, and allowed me to experiment with different lyrical, musical, and performance styles as I hone in on my own identity as an artist and try to provide current and future fans with with an experience based in the heart of the Blues, while keeping them anxious for the next track as they go from the warm and soulful acoustic Blues of “Easy Street” to the down and dirty TX style Blues of “Every Time You Cry” to the hard-driving and edgy Blues/Rock of “Vice Pursued” (and all points in between).” (https://www.broadjam.com/albums/chrisford/blues-on-the-edge) Ford wrote and sang all of the songs and he is backed up by Rebecca Moreland (vocals), Johnny Garcia (guitar, bass, washboard), Mike Brignardello (bass), Tim Gonzalez (harmonica), Jamey Garner (harmonica), Tommy Harden (drums), and Steve Cox and Jonathon Brown (keys, B3). Click here to listen to songs from this release.
Davy Knowles – What Happens Next (Provogue): “Davy Knowles first burst onto the scene in 2007 with his band ‘Back Door Slam’, garnering rave reviews, national US television appearances (Jimmy Kimmel Live, Good Morning America), extensive triple-A radio airplay, and two top 5 Billboard Blues charting albums. Since then, Knowles has independently released two more studio albums, 2014’s ‘The Outsider’ and 2016’s ‘Three Miles From Avalon’, which also hit the top 5 on the Billboard Blues chart. An EP, ‘1932’, showcasing his talents on acoustic guitar, specifically a 1932 National acoustic guitar, was released in early 2017…. On his aptly-titled Provogue Records debut What Happens Next… roots singer-songwriter and guitarist Davy Knowles boldly steps forward with timeless and cohesive songwriting; sleek modern production; and a lyrical, play-for-the-song guitar approach informed from soul, folk, rock, and blues. The 12-song album is just as influenced by The Black Keys, Fantastic Negrito, Gary Clark Jr., as it is Muddy Waters, Junior Kimbrough, and R.L. Burnside.” (https://davyknowles.com/about/) Click here to listen to “Light Of The Moon” the opening song written by Knowles.
Kopsetically,
Professor Bebop
