I'll be honest, Van Morrison's lyrics on his new album, "Keep It Simple," don't speak to me. I don't mind the love songs, but the lyrics are predictable, even trite. I do mind the title track and "Don't Go to Nightclubs Anymore" — the lyrics are downright annoying. Morrison comes across as a bitter, paranoid old man lashing out at anyone who's ever criticized his music.
I'm willing to ignore all that, though, because Morrison still has the most soulful voice in the business. And the music on "Keep It Simple," a slow-grooving mix of blues and soul, is wonderful.
His voice matches the rich, thick timbre of John Allair's organ, which languidly rolls through seven of the album's 11 tracks. I don't know of anyone who has a better sense of timing than Morrison. His vocals seem to float around the gospel-like choruses of his backing singers. It almost sounds as if he's preaching. I just wish he had something to say.
Monday, March 31, 2008
Cahl's Jukebox, 3-31-08
The daily mix:
1) Brian Auger's Oblivion Express: "Happiness is Just Around the Bend"
2) Santana: "Black Magic Woman"
3) Rufus Thomas: "The Funky Bird"
4) Stevie Wonder: "My Baby's Gone"
5) Marvin Gaye and Tammi Terrell: "Keep on Lovin' Me Honey"
6) Macondo: "Almedra"
7) Fela Kuti: "Alu Jon Jonki Jon"
8) Ini Kamoze: "World a Reggae (Out in the Street They Call It Murder)"
9) Inner Circle: "Massive"
10) Slim Smith:"I'll Be Around"
1) Brian Auger's Oblivion Express: "Happiness is Just Around the Bend"
2) Santana: "Black Magic Woman"
3) Rufus Thomas: "The Funky Bird"
4) Stevie Wonder: "My Baby's Gone"
5) Marvin Gaye and Tammi Terrell: "Keep on Lovin' Me Honey"
6) Macondo: "Almedra"
7) Fela Kuti: "Alu Jon Jonki Jon"
8) Ini Kamoze: "World a Reggae (Out in the Street They Call It Murder)"
9) Inner Circle: "Massive"
10) Slim Smith:"I'll Be Around"
'Harder They Come'
The stage version of the reggae film "The Harder They Come" has been a smash in Britain. Here's hoping it comes to a Hoosier stage soon.
Sunday, March 30, 2008
Cahl's Jukebox, 3-30-08
Sunday night jazz:
1) Hamiet Bluiett: "Body and Soul"
2) Ben Webster and Joe Zawinul: "The Governor"
3) Erroll Garner: "Lover"
4) World Saxophone Quartet: "Adjacent"
5) Grachan Moncur III: "Gnostic"
6) John Blum Astrogeny Quartet: "Encomia"
7) Billy Harper: "Thine is the Glory"
8) Miles Davis: "Sivad"
9) John Coltrane: "Consequences"
10) Regina Carter: "Don't Get Sassy"
1) Hamiet Bluiett: "Body and Soul"
2) Ben Webster and Joe Zawinul: "The Governor"
3) Erroll Garner: "Lover"
4) World Saxophone Quartet: "Adjacent"
5) Grachan Moncur III: "Gnostic"
6) John Blum Astrogeny Quartet: "Encomia"
7) Billy Harper: "Thine is the Glory"
8) Miles Davis: "Sivad"
9) John Coltrane: "Consequences"
10) Regina Carter: "Don't Get Sassy"
Kahil El'Zabar's Ritual Trio with Hamiet Bluiett in Champaign
A few songs into his set at the University of Illinois' Krannert Center Saturday night, Kahil El'Zabar stepped out from behind his drum set, picked up a thumb piano and strapped some bells onto his right ankle. A few minutes later, El'Zabar started marching, with the bells, the kind you might find on a tambourine, providing a jangly punctuation to the delightfully deep blasts coming from Hamiett Bluiett's baritone saxophone.
Bluiett, who was marching, too, used his horn to mimic El Zabar's screams, which sounded like screeches from wild animals. At the same time, El'Zabar used the thumb piano to create ethereal noises that sounded like a chorus of wind chimes and rain sticks. It didn't take much to imagine you were in the middle of a rain forest.
And that, I think, was the strength of the group's music. It allowed a diverse audience, which included a former Illinois governor, professors, senior citizens and students to add their own interpretations. A woman near me, for example, kept time with her arms in sensuous, flowing movements that might have been appropriate for a performance of "Swan Lake." An elderly couple also found the beat and danced throughout the set.
It's hard to categorize the group's music because the band members combined elements from so many genres, ranging from free jazz and bop to R&B and African music. El'Zbar even sang, frequently using his deep, rich voice to remind the audience of his mentor, the late great bassist Malachi Favors. As he sang, Ari Brown reeled off enchanting Erroll-Garner-like runs on his piano.
My favorite parts of the show, though, were when Brown picked up his tenor saxophone and joined Bluiett for melodic, sometimes squawking, duets. Brown and Bluiett are both giants of jazz, as far as I'm concerned. So I'd like to thank El'Zabar and the University of Illinois for giving me the chance to hear them live. It was a memorable show.
Bluiett, who was marching, too, used his horn to mimic El Zabar's screams, which sounded like screeches from wild animals. At the same time, El'Zabar used the thumb piano to create ethereal noises that sounded like a chorus of wind chimes and rain sticks. It didn't take much to imagine you were in the middle of a rain forest.
And that, I think, was the strength of the group's music. It allowed a diverse audience, which included a former Illinois governor, professors, senior citizens and students to add their own interpretations. A woman near me, for example, kept time with her arms in sensuous, flowing movements that might have been appropriate for a performance of "Swan Lake." An elderly couple also found the beat and danced throughout the set.
It's hard to categorize the group's music because the band members combined elements from so many genres, ranging from free jazz and bop to R&B and African music. El'Zbar even sang, frequently using his deep, rich voice to remind the audience of his mentor, the late great bassist Malachi Favors. As he sang, Ari Brown reeled off enchanting Erroll-Garner-like runs on his piano.
My favorite parts of the show, though, were when Brown picked up his tenor saxophone and joined Bluiett for melodic, sometimes squawking, duets. Brown and Bluiett are both giants of jazz, as far as I'm concerned. So I'd like to thank El'Zabar and the University of Illinois for giving me the chance to hear them live. It was a memorable show.
Saturday, March 29, 2008
Indy Jazz Fest
Admission: I live 70 miles from Indianapolis, but I've never been to the Indianapolis Jazz Fest. Silly, huh?
One problem is that the Indianapolis festival is usually on the same weekend that Ravinia holds its jazz festival, which I frequently attend. The festival also falls during a prime vacation period; I usually try to visit my parents in Georgia in mid-June. Last year I'd planned to attend the Indy Jazz Festival, but I got sick.
I'm making no promises this year, but I am excited about the prospect of seeing Bettye LaVette and Buddy Guy again; they'll perform on Friday, June 13. I'd also love to see Freddie Hubbard, Melvin Rhyne, Jerry Gonzales, Ramsey Lewis and Paquito D'Rivera.
Check the schedule for this year's Indy Jazz Fest here.
One problem is that the Indianapolis festival is usually on the same weekend that Ravinia holds its jazz festival, which I frequently attend. The festival also falls during a prime vacation period; I usually try to visit my parents in Georgia in mid-June. Last year I'd planned to attend the Indy Jazz Festival, but I got sick.
I'm making no promises this year, but I am excited about the prospect of seeing Bettye LaVette and Buddy Guy again; they'll perform on Friday, June 13. I'd also love to see Freddie Hubbard, Melvin Rhyne, Jerry Gonzales, Ramsey Lewis and Paquito D'Rivera.
Check the schedule for this year's Indy Jazz Fest here.
Cahl's Jukebox, 3-29-08
The daily mix:
1) The Broken West: "On the Bubble"
2) Dream Syndicate: "Days of Wine and Roses"
3) The Velvet Crush: "Roman Candle"
4) Buffalo Tom: "Merry Go Round"
5) Guided By Voices: "Run Wild"
6) The Halo Benders: "Don't Touch My Bikini"
7) Bettie Servert: "Attagirl"
8) PJ Harvey: "This Wicked Tongue"
9) The Jam: "Move On Up"
10) XTC: "No Thugs in Our House"
1) The Broken West: "On the Bubble"
2) Dream Syndicate: "Days of Wine and Roses"
3) The Velvet Crush: "Roman Candle"
4) Buffalo Tom: "Merry Go Round"
5) Guided By Voices: "Run Wild"
6) The Halo Benders: "Don't Touch My Bikini"
7) Bettie Servert: "Attagirl"
8) PJ Harvey: "This Wicked Tongue"
9) The Jam: "Move On Up"
10) XTC: "No Thugs in Our House"
Blues Blog Special: Buddy Moss, 'Atlanta Blues Legend'
I'm sure Buddy Moss carved up a lot of other blues musicians with his guitar in the '30s. He still didn't have many equals in 1966 when he recorded the songs found on "Atlanta Blues Legend." It's one of the best live blues albums in my collection, and that's saying something because I own hundreds.
Folks who are turned off by the scratchy sound of many old country blues albums, including the ones Moss recorded in his younger days, will dig "Atlanta Blues Legend." The recording is almost as crisp as Moss' guitar playing.
By the mid-'60s, Moss had also become an ace harmonica player. It's a joy to hear him trade harmonica licks with Jeff Espina on many of the album's songs, particularly "I'm Sitting on Top of the World." And as a singer, Moss possessed a deep, clear voice that conveyed both joy and sadness without sounding shrill or whiny. His vocals are always measured and emotive, a perfect complement to his intricate guitar riffs and his dynamic harmonica blasts.
As far as I can tell, "Atlanta Blues Legend" is out of print. Grab a used copy if you can find one because the album truly is a treasure.
(Blues Blog Special is a regular feature that examines older blues albums worth checking out.)
Folks who are turned off by the scratchy sound of many old country blues albums, including the ones Moss recorded in his younger days, will dig "Atlanta Blues Legend." The recording is almost as crisp as Moss' guitar playing.
By the mid-'60s, Moss had also become an ace harmonica player. It's a joy to hear him trade harmonica licks with Jeff Espina on many of the album's songs, particularly "I'm Sitting on Top of the World." And as a singer, Moss possessed a deep, clear voice that conveyed both joy and sadness without sounding shrill or whiny. His vocals are always measured and emotive, a perfect complement to his intricate guitar riffs and his dynamic harmonica blasts.
As far as I can tell, "Atlanta Blues Legend" is out of print. Grab a used copy if you can find one because the album truly is a treasure.
(Blues Blog Special is a regular feature that examines older blues albums worth checking out.)
Friday, March 28, 2008
Jazz Blog Special: 'Hank Jones with the Meridian String Quartet'
Pianist Hank Jones and the Meridian String Quartet's rendition of "My Funny Valentine" sounds like "Fiddler on the Roof" meets "Doctor Zhivago." It really is lovely.
I'm not a fan of many jazz albums that feature strings, but Jones and the string quartet beautifully navigate Manny Albam's arrangements of standards such as "A Sleeping Bee," "Softly, As in a Morning Sunrise" and "Love Walked In." The fact that Jones is joined by Rufus Reid, an exceptionally lyrical bassist, and Dennis Mackrel, a sensitive drummer, also helps.
Jones is the star here, of course. His playing is elegant, as always; it's also dynamic. The string quartet seems to push him, especially on a vigorous version of the Gershwins' "Russian Lullabye." And if you're looking for an entry point into the world of Third Stream jazz, which blends elements of jazz and classical music, "Hank Jones with the Meridian String Quartet" is a good choice.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
I'm not a fan of many jazz albums that feature strings, but Jones and the string quartet beautifully navigate Manny Albam's arrangements of standards such as "A Sleeping Bee," "Softly, As in a Morning Sunrise" and "Love Walked In." The fact that Jones is joined by Rufus Reid, an exceptionally lyrical bassist, and Dennis Mackrel, a sensitive drummer, also helps.
Jones is the star here, of course. His playing is elegant, as always; it's also dynamic. The string quartet seems to push him, especially on a vigorous version of the Gershwins' "Russian Lullabye." And if you're looking for an entry point into the world of Third Stream jazz, which blends elements of jazz and classical music, "Hank Jones with the Meridian String Quartet" is a good choice.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
Cahl's Jukebox, 3-28-08
Friday morning jazz:
1) SF Jazz Collective: "When Will This Blues Leave"
2) McCoy Tyner: "Blues on the Corner"
3) The Three Sounds: "I Held My Head in Shame"
4) Skip Heller: "The Yodel"
5) Dexter Gordon: "Soul Sister"
6) Larry Young: "Tyrone"
7) Johnny "Hammond" Smith: "Ribs an' Chips"
8) Horace Silver: "Blues for Brother Blue"
9) Mongo Santamaria: "Bembe Blue"
10) Charles Earland: "Is It Necessary"
1) SF Jazz Collective: "When Will This Blues Leave"
2) McCoy Tyner: "Blues on the Corner"
3) The Three Sounds: "I Held My Head in Shame"
4) Skip Heller: "The Yodel"
5) Dexter Gordon: "Soul Sister"
6) Larry Young: "Tyrone"
7) Johnny "Hammond" Smith: "Ribs an' Chips"
8) Horace Silver: "Blues for Brother Blue"
9) Mongo Santamaria: "Bembe Blue"
10) Charles Earland: "Is It Necessary"
Blues Blog Special: Lee Gates, 'Black Lucy Deuce'
Lee Gates’ guitar licks come at you in waves, both beautiful and ominous.
You know from the first few fierce chords of “Get Drunk Baby and Party All Night Long,” the opening track on “Black Lucy’s Deuce," that Gates is a dangerous man when he has a guitar in his hands. He plays with the same sense of abandon that his cousin Albert Collins always did. And when Gates tells you to party all night long, you know he means it.
“My Wife Left Me a Long Time Ago,” my favorite song on the album, sounds like a rawer version of a B.B. King tune. It’s lovely and sad in the same way that Robert Johnson’s tunes always were.
I laugh whenever I listen to “In Deep Up to My Neck.” It’s not that the song’s funny. Nah, I always think about the latest rock ‘n’ roll “guitar gods” my students have told me about. Most young rockers rely on noise for power. Gates’ notes all start sweetly and explode.
The music on “Black Lucy Deuce” is old-school blues, working man blues. You won’t find anything fancy, but the tunes will hit you like a typhoon.
(Blues Blog Special is a regular feature that examines older blues albums worth checking out.)
You know from the first few fierce chords of “Get Drunk Baby and Party All Night Long,” the opening track on “Black Lucy’s Deuce," that Gates is a dangerous man when he has a guitar in his hands. He plays with the same sense of abandon that his cousin Albert Collins always did. And when Gates tells you to party all night long, you know he means it.
“My Wife Left Me a Long Time Ago,” my favorite song on the album, sounds like a rawer version of a B.B. King tune. It’s lovely and sad in the same way that Robert Johnson’s tunes always were.
I laugh whenever I listen to “In Deep Up to My Neck.” It’s not that the song’s funny. Nah, I always think about the latest rock ‘n’ roll “guitar gods” my students have told me about. Most young rockers rely on noise for power. Gates’ notes all start sweetly and explode.
The music on “Black Lucy Deuce” is old-school blues, working man blues. You won’t find anything fancy, but the tunes will hit you like a typhoon.
(Blues Blog Special is a regular feature that examines older blues albums worth checking out.)
Thursday, March 27, 2008
Cahl's Jukebox, 3-27-08
Thursday morning blues:
1) CeDell Davis: "She's Got the Devil in Her"
2) DuWayne Burnside: "Bad Luck City"
3) Larry McRay:"Last Four Nickels"
4) Alabama Slim and Little Freddie King: "The Mighty Flood"
5) Earl Hooker: "Love Ain't a Plaything"
6) Muddy Waters: "Down Broke Down"
7) Kip Anderson: "Dog Don't Wear No Shoes"
8) Fenton Robinson: "I've Changed"
9) Junior Kimbrough: "All Night Long"
10) Johnny Winter: "I'm Yours and I'm Hers"
1) CeDell Davis: "She's Got the Devil in Her"
2) DuWayne Burnside: "Bad Luck City"
3) Larry McRay:"Last Four Nickels"
4) Alabama Slim and Little Freddie King: "The Mighty Flood"
5) Earl Hooker: "Love Ain't a Plaything"
6) Muddy Waters: "Down Broke Down"
7) Kip Anderson: "Dog Don't Wear No Shoes"
8) Fenton Robinson: "I've Changed"
9) Junior Kimbrough: "All Night Long"
10) Johnny Winter: "I'm Yours and I'm Hers"
Kahil El'Zabar and Hamiet Bluiett are Coming to Champaign
I'd planned a quiet weekend with the pooch, but my friend Greg Kline informs me that percussionist Kahil El'Zabar will be giving a free show Saturday night at the University of Illinois' Krannert Center. The kicker is that baritone saxophonist Hamiet Bluiett, one of my favorite jazz musicians, will be joining him.
So tonight I pulled out "The Calling," which Bluiett and El'Zabar recorded with keyboard player D.D. Jackson in 2001. When I wrote about the album a couple of years ago I said "The Calling" sounded like John Coltrane picked up a baritone saxophone and asked Jimmy Smith and Babatunde Olatunji to help him record a sequel to “A Love Supreme.” I also noted that the album has as many layers as any CD I own.
Tonight, I'm struck by the tranquility of the album. Most folks wouldn't believe that musicians who are often pegged as free jazz artists could weave such a peaceful spell. But they do. They're provocative and unpredictable, too.
Guess the little hellhound's headed for the luxury doggie hotel this weekend.
So tonight I pulled out "The Calling," which Bluiett and El'Zabar recorded with keyboard player D.D. Jackson in 2001. When I wrote about the album a couple of years ago I said "The Calling" sounded like John Coltrane picked up a baritone saxophone and asked Jimmy Smith and Babatunde Olatunji to help him record a sequel to “A Love Supreme.” I also noted that the album has as many layers as any CD I own.
Tonight, I'm struck by the tranquility of the album. Most folks wouldn't believe that musicians who are often pegged as free jazz artists could weave such a peaceful spell. But they do. They're provocative and unpredictable, too.
Guess the little hellhound's headed for the luxury doggie hotel this weekend.
Wednesday, March 26, 2008
Cahl's Jukebox, 3-26-08
Wednesday morning jazz:
1) Sheila Jordan: "Autumn in New York"
2) Dexter Gordon: "Darn That Dream"
3) Etta Jones: "There Goes My Heart"
4) Johnny Hodges: "Once in a While"
5) Jeri Southern: "When I Fall in Love"
6) Coleman Hawkins: "Little Girl Blue"
7) Ella Fitzgerald: "I Hadn't Anyone Til You"
8) James Moody: "Hard to get"
9) Peggy Lee: "It's Been a Long, Long Time"
10) David "Fathead" Newman: "Passing Through"
1) Sheila Jordan: "Autumn in New York"
2) Dexter Gordon: "Darn That Dream"
3) Etta Jones: "There Goes My Heart"
4) Johnny Hodges: "Once in a While"
5) Jeri Southern: "When I Fall in Love"
6) Coleman Hawkins: "Little Girl Blue"
7) Ella Fitzgerald: "I Hadn't Anyone Til You"
8) James Moody: "Hard to get"
9) Peggy Lee: "It's Been a Long, Long Time"
10) David "Fathead" Newman: "Passing Through"
Jazz Blog Special: Sheila Jordan and Cameron Brown, 'I've Grown Accustomed to the Bass'
I thought Sheila Jordan's rendition of "Baltimore Oriole" was about the coolest tune I'd ever heard when a friend's father turned me on to her debut album, "Portrait of Sheila Jordan,"more than 30 years ago. I still do.
Steve Swallow's steamy bass lines help give "Baltimore Oriole" the same sexy vibe as Peggy Lee's rendition of "Fever." Jordan's been relying on bassists to set up her cool improvisations ever sense, with Cameron Brown serving as her favorite muse.
"I've Grown Accustomed to the Bass," a live album released in 2000 that features only Jordan and Brown, doesn't include any tunes as enigmatic as "Baltimore Oriole," but the synergy between Jordan and Brown is impressive. And I think I prefer the live version of Bobby Timmons' "Dat Dere" to the rendition she recorded for "Portrait of Sheila Jordan." Brown's spare, lyrical riffs envelop and punctuate Jordan's amusing vocals on the newer track. It's so hip you almost expect to hear Allen Ginsberg and Jack Kerouac snapping their fingers in the background.
I love Jordan and Brown's cover of "Good Morning Heartache," too. It's a sweet and lovely tribute to Billie Holiday, but my favorite track on the album is the medley of "I Got Rhythm/Listen to Monk (Rhythm-A-Ning)." Jordan's scatting is somehow both frenetic and airy ... just like Brown's bass playing.
If you dig "I've Grown Accustomed to the Bass" as much as I do, you'll also want to pick up a copy of Brown's "Here and How," a live album recorded in 2003 with Jordan, Dewey Redman on tenor saxophone, Dave Ballou on trumpet and Leon Parker on drums. Redman's saxophone licks are cool and unpredictable, an almost perfect complement to the hip focal point of Jordan's vocals and Brown's bass.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
Steve Swallow's steamy bass lines help give "Baltimore Oriole" the same sexy vibe as Peggy Lee's rendition of "Fever." Jordan's been relying on bassists to set up her cool improvisations ever sense, with Cameron Brown serving as her favorite muse.
"I've Grown Accustomed to the Bass," a live album released in 2000 that features only Jordan and Brown, doesn't include any tunes as enigmatic as "Baltimore Oriole," but the synergy between Jordan and Brown is impressive. And I think I prefer the live version of Bobby Timmons' "Dat Dere" to the rendition she recorded for "Portrait of Sheila Jordan." Brown's spare, lyrical riffs envelop and punctuate Jordan's amusing vocals on the newer track. It's so hip you almost expect to hear Allen Ginsberg and Jack Kerouac snapping their fingers in the background.
I love Jordan and Brown's cover of "Good Morning Heartache," too. It's a sweet and lovely tribute to Billie Holiday, but my favorite track on the album is the medley of "I Got Rhythm/Listen to Monk (Rhythm-A-Ning)." Jordan's scatting is somehow both frenetic and airy ... just like Brown's bass playing.
If you dig "I've Grown Accustomed to the Bass" as much as I do, you'll also want to pick up a copy of Brown's "Here and How," a live album recorded in 2003 with Jordan, Dewey Redman on tenor saxophone, Dave Ballou on trumpet and Leon Parker on drums. Redman's saxophone licks are cool and unpredictable, an almost perfect complement to the hip focal point of Jordan's vocals and Brown's bass.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
Tuesday, March 25, 2008
Cahl's Jukebox, 3-24-08
The daily mix:
1) Sir Douglas Quintet: "Texas Me"
2) Dave Alvin: "Gospel Night"
3) Terry Allen: "The Great Joe Bob"
4) Ray Wylie Hubbard: "Preacher"
5) Jim Lauderdale: "Can't Find Mary"
6) Merle Haggard: "Some of Us Never Learn"
7) Glen Glenn: "If I Had Me a Woman"
8) Tony Joe White: "Polk Salad Annie"
9) Johnny Powers and the A-Bones: "New Spark"
10) Jerry Lee Lewis: "No Headstone on My Grave"
1) Sir Douglas Quintet: "Texas Me"
2) Dave Alvin: "Gospel Night"
3) Terry Allen: "The Great Joe Bob"
4) Ray Wylie Hubbard: "Preacher"
5) Jim Lauderdale: "Can't Find Mary"
6) Merle Haggard: "Some of Us Never Learn"
7) Glen Glenn: "If I Had Me a Woman"
8) Tony Joe White: "Polk Salad Annie"
9) Johnny Powers and the A-Bones: "New Spark"
10) Jerry Lee Lewis: "No Headstone on My Grave"
R.E.M. and Hoops
I spent my evening listening to R.E.M.'s South By Southwest show on NPR while watching women's college basketball. It was a great night.
Sunday, March 23, 2008
Cahl's Jukebox, 3-23-08
Sunday morning jazz:
1) Matana Roberts and Fred Anderson: "Birdhouse 1"
2) Dave Burrell Full-Blown Trio: "Double Heartbeat"
3) Oliver Lake: "Again and Again"
4) Marc Ribot: "Truth is Marching In"
5) Lennie Tristano: "Scene and Variations"
6) Henry Grimes Trio: "Walk On"
7) Julian Priester and Sam Rivers: "The New System"
8) Phil Ranelin: "Black Destiny"
9) Jimmy Giuffre, Paul Bley and Steve Swallow: "Tumbleweed"
10) Roswell Rudd: "You Blew It"
1) Matana Roberts and Fred Anderson: "Birdhouse 1"
2) Dave Burrell Full-Blown Trio: "Double Heartbeat"
3) Oliver Lake: "Again and Again"
4) Marc Ribot: "Truth is Marching In"
5) Lennie Tristano: "Scene and Variations"
6) Henry Grimes Trio: "Walk On"
7) Julian Priester and Sam Rivers: "The New System"
8) Phil Ranelin: "Black Destiny"
9) Jimmy Giuffre, Paul Bley and Steve Swallow: "Tumbleweed"
10) Roswell Rudd: "You Blew It"
Saturday, March 22, 2008
Israel "Cachao" Lopez Dies
The great bassist Israel "Cachao" Lopezhas died. Lopez is credited as one of the pioneers of the mambo, but he excelled at anything he tried.
Check out this clip of Lopez with pianist Bebo Valdez:
Check out this clip of Lopez with pianist Bebo Valdez:
Cahl's Jukebox, 3-22-08
Happy birthday, pops:
1) Clem Snide: "Happy Birthday"
2) Neil Young: "Old Man"
3) Alejandro Escovedo: "By the Hand of the Father"
4) Clarence Reid: "If It Was Good Enough for Daddy"
5) Lavay Smith and Her Skillet Lickers: "Big Fine Daddy"
6) Wreckless Eric: "Birthday Blues"
7) Jessie Mae Hemphill: "My Daddy's Blues"
8) Blues Boy Willie: "Fishing Trip"
9) Dinah Washington: "Make Me a Present of You"
10) Horace Silver: "Song for My Father"
1) Clem Snide: "Happy Birthday"
2) Neil Young: "Old Man"
3) Alejandro Escovedo: "By the Hand of the Father"
4) Clarence Reid: "If It Was Good Enough for Daddy"
5) Lavay Smith and Her Skillet Lickers: "Big Fine Daddy"
6) Wreckless Eric: "Birthday Blues"
7) Jessie Mae Hemphill: "My Daddy's Blues"
8) Blues Boy Willie: "Fishing Trip"
9) Dinah Washington: "Make Me a Present of You"
10) Horace Silver: "Song for My Father"
Red Stick Ramblers at Lafayette Brewing Company
The Red Stick Ramblers provided a great soundtrack to the NCAA basketball tournament, which I watched on the tiny TV at the Lafayette Brewing Company tonight.
The band certainly hopped a lot more than than the IU players did during their game against Arkansas. The twin fiddle attack of Linzay Young and Kevin Wimmer was invigorating. I liked bassist Eric Frey, too. But guitarist Chas Jutus impressed me the most; he's a flat-pickin' fool. Justus' blues, gypsy jazz and Western swing riffs added an unusual twist to the Cajun base the other musicians provided.
The slower tunes were nice — Young's vocals were especially were especially good — but I had a hard time hearing them above the chatter of the crowd from my perch at the bar. I didn't have that problem when the band got rowdy. Their eclectic blend of musical styles got everyone rocking for memorable version of March Madness.
The band certainly hopped a lot more than than the IU players did during their game against Arkansas. The twin fiddle attack of Linzay Young and Kevin Wimmer was invigorating. I liked bassist Eric Frey, too. But guitarist Chas Jutus impressed me the most; he's a flat-pickin' fool. Justus' blues, gypsy jazz and Western swing riffs added an unusual twist to the Cajun base the other musicians provided.
The slower tunes were nice — Young's vocals were especially were especially good — but I had a hard time hearing them above the chatter of the crowd from my perch at the bar. I didn't have that problem when the band got rowdy. Their eclectic blend of musical styles got everyone rocking for memorable version of March Madness.
Friday, March 21, 2008
'Hugh Masekela Presents the Chisa Years'
I'm betting that Franco wants me to play "Hugh Masekela Presents the Chisa Years, 1965-1975 (Rare and Unreleased)" more often because the little hellhound loved bouncing around the basement with me tonight.
Masekela recorded the tunes with his friend Stewart Levine for their short-lived label called Chisa. And it's hard not to dance when you listen to the music, which mixes jazz, South African township music and funk.
The album opens with the Fela Kuti-inspired "Afro Beat Blues," which Masekela recorded with Ojah, a funky group of musicians from Ghana and Nigeria. A badass bass line and nasty drumbeats drive the song as Maskela's trumpet accentuates the funky vocals.
The album also features Letta Mbula, an incredible vocalist who sounds like a combination of Nina Simone and Laura Love. On "Mahlalela," for example, Mbula's vocals bounce around more than Franco and I were doing as we listened. And her band, composed primarily of members of The Crusaders, rocks.
The Zulu's "Joala" is another highlight. Fans of Ladysmith Black Mambazo and the Mahotella Queens Twill dig the seven vocalists in The Zulus, who sound like a South African doo wop group. The track is lovely.
The tracks by Baranta, which features a vocalist named Miatta Fahinbulleh, sound like carnival music. The tunes are a sort of jazz fusion with bouncy African rhythms and gorgeous vocals. In a way, the music reminds me a lot of soca, the ultra danceable musical cousin of Calypso.
Even the album's songs recorded 45 years ago still sound fresh. And Franco guarantees that your little hellhounds will love it as much as he does.
Masekela recorded the tunes with his friend Stewart Levine for their short-lived label called Chisa. And it's hard not to dance when you listen to the music, which mixes jazz, South African township music and funk.
The album opens with the Fela Kuti-inspired "Afro Beat Blues," which Masekela recorded with Ojah, a funky group of musicians from Ghana and Nigeria. A badass bass line and nasty drumbeats drive the song as Maskela's trumpet accentuates the funky vocals.
The album also features Letta Mbula, an incredible vocalist who sounds like a combination of Nina Simone and Laura Love. On "Mahlalela," for example, Mbula's vocals bounce around more than Franco and I were doing as we listened. And her band, composed primarily of members of The Crusaders, rocks.
The Zulu's "Joala" is another highlight. Fans of Ladysmith Black Mambazo and the Mahotella Queens Twill dig the seven vocalists in The Zulus, who sound like a South African doo wop group. The track is lovely.
The tracks by Baranta, which features a vocalist named Miatta Fahinbulleh, sound like carnival music. The tunes are a sort of jazz fusion with bouncy African rhythms and gorgeous vocals. In a way, the music reminds me a lot of soca, the ultra danceable musical cousin of Calypso.
Even the album's songs recorded 45 years ago still sound fresh. And Franco guarantees that your little hellhounds will love it as much as he does.
Cahl's Jukebox, 3-21-08
Friday morning jazz:
1) Zoot Sims: "Never Let Me Go"
2) Bobby Hackett: "Alcoholic Blues"
3) Nat Adderley: "Arriving Soon"
4) Michel Camilo: "Two of a Kind"
5) Bebo Valdes: "Mississippi Mambo"
6) Mary Lou Williams: "Play It Momma"
7) Martial Solal and Dave Douglas: "Elk's Club"
8) Julian Priester: "Just Friends"
9) Horace Silver: "Sunday Morning Prayer Meeting"
1) Zoot Sims: "Never Let Me Go"
2) Bobby Hackett: "Alcoholic Blues"
3) Nat Adderley: "Arriving Soon"
4) Michel Camilo: "Two of a Kind"
5) Bebo Valdes: "Mississippi Mambo"
6) Mary Lou Williams: "Play It Momma"
7) Martial Solal and Dave Douglas: "Elk's Club"
8) Julian Priester: "Just Friends"
9) Horace Silver: "Sunday Morning Prayer Meeting"
Thursday, March 20, 2008
NPR on Zoot Sims
Nancy Wilson's NPR profile on jazz saxophonist Zoot Sims is excellent. Give it a listen.
Cahl's Jukebox, 3-20-08
The daily mix:
1) The Red Stick Ramblers: "Some of These Days"
2) Beau Jocque & the Zydeco Hi-Rollers: "Just One Kiss"
3) Snooks Eaglin: "You Give Me Nothing But the Blues"
4) Earl King: "Don't Cry My Friend"
5) Lee Dorsey: "Ride Your Pony"
6) Bettye LaVette: "My Man"
7) Dusty Springfield: "Willie & Laura Mae Jones"
8) Lou Ann Barton: "Finger Poppin' Time"
9) Junior Walker & the All Stars: "Shake and Finger Pop"
10) King Curtis: "Hold On, I'm Coming"
1) The Red Stick Ramblers: "Some of These Days"
2) Beau Jocque & the Zydeco Hi-Rollers: "Just One Kiss"
3) Snooks Eaglin: "You Give Me Nothing But the Blues"
4) Earl King: "Don't Cry My Friend"
5) Lee Dorsey: "Ride Your Pony"
6) Bettye LaVette: "My Man"
7) Dusty Springfield: "Willie & Laura Mae Jones"
8) Lou Ann Barton: "Finger Poppin' Time"
9) Junior Walker & the All Stars: "Shake and Finger Pop"
10) King Curtis: "Hold On, I'm Coming"
The Red Stick Ramblers are Coming to Hoosierland
It's been a great year in Lafayette for Cajun and zydeco music. In February, C.J. Chenier and Buckwheat Zydeco came. And on Friday The Red Stick Ramblers will be at the Lafayette Brewing Company.
The band's latest album, "Made in the Shade," combines traditional Cajun music, boogie woogie blues, Western swing and gypsy-flavored jazz. I'm hooked. The show's at 8 p.m. Join me.
The band's latest album, "Made in the Shade," combines traditional Cajun music, boogie woogie blues, Western swing and gypsy-flavored jazz. I'm hooked. The show's at 8 p.m. Join me.
Wednesday, March 19, 2008
Cahl's Jukebox, 3-19-08
The daily mix:
1) Bob Dylan: "To Ramona"
2) Willie Nelson: "Your Memory Won't Die in My Grave"
3) Bruce Springsteen: "Book of Dreams"
4) Guy Clark: "Fools for Each Other"
5) Billy Bragg: "Must I Paint You a Picture"
6) Liz Tormes: "Sorry"
7) Mary Gauthier: "Please"
8) Steve Earle: "Poison Lovers"
9) Neil Young: "From Hank to Hendrix"
10) Handsome Family: "Famous Blue Raincoat"
1) Bob Dylan: "To Ramona"
2) Willie Nelson: "Your Memory Won't Die in My Grave"
3) Bruce Springsteen: "Book of Dreams"
4) Guy Clark: "Fools for Each Other"
5) Billy Bragg: "Must I Paint You a Picture"
6) Liz Tormes: "Sorry"
7) Mary Gauthier: "Please"
8) Steve Earle: "Poison Lovers"
9) Neil Young: "From Hank to Hendrix"
10) Handsome Family: "Famous Blue Raincoat"
Charline Arthur: 'Welcome to the Club'
Charline Arthur was a maverick in country music who enraged music executives by singing saucy tunes that were closer in tone to the songs of blues divas such as Bessie Smith and Georgia White than to the ones by her female country music contemporaries.
In retrospect, the songs found on "Welcome to the Club," a 32-song collection from Bear Family Records, really aren't that racy by today's standards, but songs about dumping a lover and stealing another woman's man were still taboo in the early-'50s. And to be honest, I've always had a weakness for bad girls.
Arthur's attitude can be found in her lyrics, sure, but I think it's even more apparent in her vocals. She used her voice, which sounds like a rougher version of Patsy Cline's, to attract men with a guttural moan and to dismiss them with a lilting laugh.
Arthur didn't rock quite as hard as Wanda Jackson and Janis Martin, but she showed them the way. The woman knew how to take a hillbilly tune and make the sucker boogie. Some folks even say Arthur was a big influence on Elvis Presley, with whom she often shared a stage. Songs such as "Welcome to the Club," "Flash Your Diamonds" and "Honey Bun" certainly share some similarities with Presley's early songs.
And can you really resist a woman who tells you to get the hell out if you won't give her some good lovin'?
In retrospect, the songs found on "Welcome to the Club," a 32-song collection from Bear Family Records, really aren't that racy by today's standards, but songs about dumping a lover and stealing another woman's man were still taboo in the early-'50s. And to be honest, I've always had a weakness for bad girls.
Arthur's attitude can be found in her lyrics, sure, but I think it's even more apparent in her vocals. She used her voice, which sounds like a rougher version of Patsy Cline's, to attract men with a guttural moan and to dismiss them with a lilting laugh.
Arthur didn't rock quite as hard as Wanda Jackson and Janis Martin, but she showed them the way. The woman knew how to take a hillbilly tune and make the sucker boogie. Some folks even say Arthur was a big influence on Elvis Presley, with whom she often shared a stage. Songs such as "Welcome to the Club," "Flash Your Diamonds" and "Honey Bun" certainly share some similarities with Presley's early songs.
And can you really resist a woman who tells you to get the hell out if you won't give her some good lovin'?
Tuesday, March 18, 2008
Cahl's Jukebox, 3-18-08
Tuesday morning soul:
1) Homer Banks: "Lucky Loser"
2) The Lost Generation: "You've Got to Crawl Before You Walk"
3) Don Covay: "No Tell Motel"
4) Garnet Mims: "Anytime You Want Me"
5) Solomon Burke: "The Mighty Quinn"
6) The Soulsetters: "Cecil, The Unwanted French Fry"
7) Johnnie Taylor: "Watermelon Man"
8) The O'Jays: "Listen to the Clock on the Wall"
9) The Temptations: "Papa Was a Rolling Stone"
10) Robert Parker: "Little Bit of Something (Is Better Than...)"
1) Homer Banks: "Lucky Loser"
2) The Lost Generation: "You've Got to Crawl Before You Walk"
3) Don Covay: "No Tell Motel"
4) Garnet Mims: "Anytime You Want Me"
5) Solomon Burke: "The Mighty Quinn"
6) The Soulsetters: "Cecil, The Unwanted French Fry"
7) Johnnie Taylor: "Watermelon Man"
8) The O'Jays: "Listen to the Clock on the Wall"
9) The Temptations: "Papa Was a Rolling Stone"
10) Robert Parker: "Little Bit of Something (Is Better Than...)"
'Hooked By Love: The Best of Homer Banks'
Homer Banks spent most of his career penning songs for artists such as Johnnie Taylor, The Staple Singers and Shirley Brown. He was good at it, too — he wrote classic soul tracks such as “Who’s Making Love,” “If Loving You is Wrong (I Don’t Want to Be Right)” and “Make a Friend.” "Hooked on Love: The Best of Homer Banks,” a compilation of his own recordings, illustrates that Banks was an excellent soul singer as well.
Banks combined both talents on “Lot of Love,” which he wrote with David Porter. The Spencer Davis Band later co-opted the basic chords for “Gimme Some Loving,” a great song to be sure, but Banks’ track is much sexier. His voice rises sweetly over the pounding bass lines and the pulsing horns until it erupts in a hoarse scream, much as Otis Redding’s vocals did on “Try a Little Tenderness.” Banks’ feverish vocals on “60 Minutes of Your Love” and “Hooked on Love” are even better.
He knew how to work a ballad, too. On “A Poor Man’s Son,” Banks sounds a lot like O.V. Wright as his vocals blend with some of the steamiest organ riffs I’ve ever heard. And “Foolish Hearts Break Fast” is sad and beautiful.
Banks, who died in 2003, deserves much wider recognition for his talent as both a songwriter and a singer. Here's a clip that splices the dancing of the fabulous Nicholas Brothers with Banks’ “Hooked By Love.” Enjoy.
Banks combined both talents on “Lot of Love,” which he wrote with David Porter. The Spencer Davis Band later co-opted the basic chords for “Gimme Some Loving,” a great song to be sure, but Banks’ track is much sexier. His voice rises sweetly over the pounding bass lines and the pulsing horns until it erupts in a hoarse scream, much as Otis Redding’s vocals did on “Try a Little Tenderness.” Banks’ feverish vocals on “60 Minutes of Your Love” and “Hooked on Love” are even better.
He knew how to work a ballad, too. On “A Poor Man’s Son,” Banks sounds a lot like O.V. Wright as his vocals blend with some of the steamiest organ riffs I’ve ever heard. And “Foolish Hearts Break Fast” is sad and beautiful.
Banks, who died in 2003, deserves much wider recognition for his talent as both a songwriter and a singer. Here's a clip that splices the dancing of the fabulous Nicholas Brothers with Banks’ “Hooked By Love.” Enjoy.
Monday, March 17, 2008
Cahl's Jukebox, 3-17-08
The daily mix:
1) Barbara Manning: "Rickity Tickity Tin"
2) Martha Wainwright: "TV Show"
3) Holly Golightly: "One Kiss"
4) Neko Case: "Christmas Card from a Hooker in Minneapolis"
5) Syd Straw: "Sphinx"
6) Aimee Mann: "Humpty Dumpty"
7) Eilen Jewel: "How Long"
8) Rickie Lee Jones: "Gloria"
9) Patti Smith: "Redondo Beach"
10) Jen Trynin: "Bore Me"
1) Barbara Manning: "Rickity Tickity Tin"
2) Martha Wainwright: "TV Show"
3) Holly Golightly: "One Kiss"
4) Neko Case: "Christmas Card from a Hooker in Minneapolis"
5) Syd Straw: "Sphinx"
6) Aimee Mann: "Humpty Dumpty"
7) Eilen Jewel: "How Long"
8) Rickie Lee Jones: "Gloria"
9) Patti Smith: "Redondo Beach"
10) Jen Trynin: "Bore Me"
Martha Wainwright's New Single
I'm usually not jealous of folks who live in Canada — Indiana's cold enough — but a free download of "You Cheated Me," a song from her forthcoming album, is available from the Canadian iTunes site through Tuesday.
Others who are interested in hearing the song should head to Wainwright's myspace page. The new album, "I Know You're Married But I Got Feelings Too," will be released later this spring.
Others who are interested in hearing the song should head to Wainwright's myspace page. The new album, "I Know You're Married But I Got Feelings Too," will be released later this spring.
Sunday, March 16, 2008
Cahl's Jukebox, 3-16-08
The daily mix:
1) Guided By Voices: "Gonna Never Have to Die"
2) Tin Machine: "Prisoner of Love"
3) Belly: "Dream on Me"
4) Penelope Houston: "My Angel Lost Her Wings"
5) Sebadoh: "Ocean"
6) Loose Fur: "Hey Chicken"
7) Replacements: "Lay It Down Clown"
8) Atom and His Package: "I'm Downright Amazed What I Can Destroy with Just a Hammer"
9) Dandy Warhols: "Cool as Kim Deal"
10) The Earaches: "Fake Radio"
1) Guided By Voices: "Gonna Never Have to Die"
2) Tin Machine: "Prisoner of Love"
3) Belly: "Dream on Me"
4) Penelope Houston: "My Angel Lost Her Wings"
5) Sebadoh: "Ocean"
6) Loose Fur: "Hey Chicken"
7) Replacements: "Lay It Down Clown"
8) Atom and His Package: "I'm Downright Amazed What I Can Destroy with Just a Hammer"
9) Dandy Warhols: "Cool as Kim Deal"
10) The Earaches: "Fake Radio"
Saturday, March 15, 2008
Cool
I just got an email from Friends of Bob, a local music cooperative, announcing that Alejandro Escovedo will be at Lafayette's Duncan Hall on April 6. I'm psyched. Escovedo was great when he came to Lafayette in 2006.
Cahl's Jukebox, 3-15-08
Saturday morning jazz:
1) Lee Konitz: "Handful of Stars"
2) George Shearing: "Moonray"
3) Buddy Collette: "St. Andrew's Place Blues"
4) Frank Strozier: "How Little We Know"
5) Cannonball Adderley: "Smoke Gets in Your Eyes"
6) Charles Tolliver: "Stretch"
7) Gerry Mulligan and Chet Baker: "It's Sandy at the Beach"
8) Kenny Garrett: "Now"
9) Thad Jones: "Chazzanova"
10) Ron Carter: "Saucer Eyes"
1) Lee Konitz: "Handful of Stars"
2) George Shearing: "Moonray"
3) Buddy Collette: "St. Andrew's Place Blues"
4) Frank Strozier: "How Little We Know"
5) Cannonball Adderley: "Smoke Gets in Your Eyes"
6) Charles Tolliver: "Stretch"
7) Gerry Mulligan and Chet Baker: "It's Sandy at the Beach"
8) Kenny Garrett: "Now"
9) Thad Jones: "Chazzanova"
10) Ron Carter: "Saucer Eyes"
Louis Smith: 'Here Comes Louis Smith'
I'm greedy when it comes to Cannonball Adderley; I'll grab fresh recordings by the great saxophonist wherever I can find them. So I was thrilled earlier this week when I spied "Here Comes Louis Smith at a local record shop.
Adderley, who used the pseudonym Buckshot La Funke for trumpeter Louis Smith's 1957 debut, is amazing, of course. I think it's one of his finest efforts as a sideman. Credit Smith, who was heavily influenced by Clifford Brown.
Smith attacked the faster tunes such as "Ande," "South Side" and "Val's Blues" with frenetic, fluttering solos. Adderley answered with runs that prove he was one of the most powerful of all alto saxophonists. Smith's a bit shakier on "Stardust." Still, he manages to make the ballad, recorded by hundreds of jazz musicians, sound fresh because he attacks it, too.
Throughout the album, bassist Doug Watkins and drummer Art Taylor play like caged animals, growling at the horn players to push harder. Duke Jordan and Tommy Flanagan, who alternate on the tracks, play fast, too. But the pianists load every note with blues, which helps keep "Here Comes Louis Smith" from becoming simply a display of macho virtuosity.
If you're a Cannonball Adderley fan, grab this album before it goes out of print again. If you do, I'm betting you'll also become a fan of one of greatest trumpet players that most folks have never heard of.
Adderley, who used the pseudonym Buckshot La Funke for trumpeter Louis Smith's 1957 debut, is amazing, of course. I think it's one of his finest efforts as a sideman. Credit Smith, who was heavily influenced by Clifford Brown.
Smith attacked the faster tunes such as "Ande," "South Side" and "Val's Blues" with frenetic, fluttering solos. Adderley answered with runs that prove he was one of the most powerful of all alto saxophonists. Smith's a bit shakier on "Stardust." Still, he manages to make the ballad, recorded by hundreds of jazz musicians, sound fresh because he attacks it, too.
Throughout the album, bassist Doug Watkins and drummer Art Taylor play like caged animals, growling at the horn players to push harder. Duke Jordan and Tommy Flanagan, who alternate on the tracks, play fast, too. But the pianists load every note with blues, which helps keep "Here Comes Louis Smith" from becoming simply a display of macho virtuosity.
If you're a Cannonball Adderley fan, grab this album before it goes out of print again. If you do, I'm betting you'll also become a fan of one of greatest trumpet players that most folks have never heard of.
Friday, March 14, 2008
Cahl's Jukebox, 3-14-08
The daily mix:
1) Elliott Smith: "Son of Sam"
2) Fruitbats: "When You Love Somebody"
3) The Dickies: "Epistle to Dippy"
4) Lambchop: "The Gap in My Education"
5) David Bowie: "Wild-eyed Boy from Freecloud"
6) The Like: "You Bring Me Down"
7) Mysteries of Life: "I'm Getting Cold"
8) Teddy Thompson: "That's Enough Out of You"
9) Camper Van Beethoven: "Ice Cream Every Day"
10) The Frames: "Sideways Down"
1) Elliott Smith: "Son of Sam"
2) Fruitbats: "When You Love Somebody"
3) The Dickies: "Epistle to Dippy"
4) Lambchop: "The Gap in My Education"
5) David Bowie: "Wild-eyed Boy from Freecloud"
6) The Like: "You Bring Me Down"
7) Mysteries of Life: "I'm Getting Cold"
8) Teddy Thompson: "That's Enough Out of You"
9) Camper Van Beethoven: "Ice Cream Every Day"
10) The Frames: "Sideways Down"
Once
I haven’t paid much attention to award shows since I was a newspaper features editor 20 years ago. So I missed the news that Glen Hansard and Marketa Irglova had won an Oscar for “Falling Slowly,” a song from the film “Once.” To be honest, I’d never even heard of the movie until my friend Cindy clued me in yesterday — I know, I’m a rube.
And though “Falling Slowly” isn’t the kind of song I’d normally buy, I think it’s sweet, as is the film, which I rented tonight. In fact, I liked “Once” a lot. It’s a movie about a young musician who dreams of making it big. In that respect, it’s similar to “The Commitments,” but “Once” seems more natural, less studied.
The scenes are simple — I love the image of Irglova dragging a vacuum through the streets. And I can relate to the bus scene in which Hansard, a member of Irish band The Frames, makes up song lyrics when Irglova asks him about an old girlfriend. (My friends and I used to get drunk and make up song lyrics about random topics.)
As Cindy says, there’s nothing special about the plot, but there's something affecting about the film. I think "One" works because it helps viewers remember their own dreams.
And though “Falling Slowly” isn’t the kind of song I’d normally buy, I think it’s sweet, as is the film, which I rented tonight. In fact, I liked “Once” a lot. It’s a movie about a young musician who dreams of making it big. In that respect, it’s similar to “The Commitments,” but “Once” seems more natural, less studied.
The scenes are simple — I love the image of Irglova dragging a vacuum through the streets. And I can relate to the bus scene in which Hansard, a member of Irish band The Frames, makes up song lyrics when Irglova asks him about an old girlfriend. (My friends and I used to get drunk and make up song lyrics about random topics.)
As Cindy says, there’s nothing special about the plot, but there's something affecting about the film. I think "One" works because it helps viewers remember their own dreams.
Thursday, March 13, 2008
Cahl's Jukebox, 3-13-08
It's Twang Thursday:
1) Hank Penny: "No Fuss, No Muss, No Bother"
2) Jack Guthrie: "No Need to Knock on My Door"
3) Ernest Tubb: "Drivin' Nails in My Coffin"
4) Ray Price: "There's No Fool Like a Young Fool"
5) Buck Owens: "Streets of Bakerfield"
6) Conway Twitty: "Will You Visit Me on Sunday"
7) George Jones: "Old Brush Arbors"
8) The Louvin Brothers: "Weary Lonesome Blues"
9) The Osborne Brothers: "Paper Rosie"
10) Earl Taylor and Jim McCall: "Hillbilly Preacher"
1) Hank Penny: "No Fuss, No Muss, No Bother"
2) Jack Guthrie: "No Need to Knock on My Door"
3) Ernest Tubb: "Drivin' Nails in My Coffin"
4) Ray Price: "There's No Fool Like a Young Fool"
5) Buck Owens: "Streets of Bakerfield"
6) Conway Twitty: "Will You Visit Me on Sunday"
7) George Jones: "Old Brush Arbors"
8) The Louvin Brothers: "Weary Lonesome Blues"
9) The Osborne Brothers: "Paper Rosie"
10) Earl Taylor and Jim McCall: "Hillbilly Preacher"
Kathleen Edwards: 'Asking for Flowers'
I had the same visceral reaction to Kathleen Edwards' new album, "Asking for Flowers," that I did when I first heard Emmylou Harris' "Pieces of the Sky," Rosanne Cash's "Seven Year Ache" and Lucinda Williams' "Car Wheels on a Gravel Road."
I loved Edwards' first two albums, "Failer" and "Back to Me," but they didn't punch me in the gut the way "Asking for Flowers" does. Edwards has matured as both a singer and a writer. More importantly, she's learned to tap into the raw emotions that everyone shares. On the new album, she's bitter, indignant, vulnerable and melancholy.
The characters that Edwards draws are vivid and poignant, especially on "Alicia Ross," the story of a young woman who was murdered. You'll also find diatribes against the government and laments about broken relationships.
Edwards sounds happy, too ... and goofier than ever. On "I Make the Dough, You Get the Glory," one of the album's best songs, she compares herself to Elvis in the '70s, a Ford Tempo and hockey tough man Marty McSorley while comparing a bandmate to John Fogerty, a Maserati and Wayne Gretzky.
And though I admire her lyrics, it's Edwards' vocals and the music that hit me the hardest. Some of the tunes are stark and haunting; others sound like Rosanne Cash is fronting Wilco at its feistiest. In both cases, Edwards could have conveyed her message if she'd done nothing but hum.
A few years from now, Edwards won't have to endure comparisons to other singers. Writers will be using her as a benchmark.
I loved Edwards' first two albums, "Failer" and "Back to Me," but they didn't punch me in the gut the way "Asking for Flowers" does. Edwards has matured as both a singer and a writer. More importantly, she's learned to tap into the raw emotions that everyone shares. On the new album, she's bitter, indignant, vulnerable and melancholy.
The characters that Edwards draws are vivid and poignant, especially on "Alicia Ross," the story of a young woman who was murdered. You'll also find diatribes against the government and laments about broken relationships.
Edwards sounds happy, too ... and goofier than ever. On "I Make the Dough, You Get the Glory," one of the album's best songs, she compares herself to Elvis in the '70s, a Ford Tempo and hockey tough man Marty McSorley while comparing a bandmate to John Fogerty, a Maserati and Wayne Gretzky.
And though I admire her lyrics, it's Edwards' vocals and the music that hit me the hardest. Some of the tunes are stark and haunting; others sound like Rosanne Cash is fronting Wilco at its feistiest. In both cases, Edwards could have conveyed her message if she'd done nothing but hum.
A few years from now, Edwards won't have to endure comparisons to other singers. Writers will be using her as a benchmark.
Wednesday, March 12, 2008
Cahl's Jukebox, 3-12-08
The daily mix:
1) The Clash: "Remote Control"
2) James Chance: "Contort Yourself"
3) Art Brut: "Good Weekend"
4) Midnight Oil: "Dream World"
5) J. Geils Band: "Where Did Our Love Go?"
6) Ducks Deluxe: "Something's Going On"
7) Sarah Borges & the Broken Singles: "Stop and Think It Over"
8) Reigning Sound: "Drowning"
9) The Judybats: "She Lives (In a Time of Her Own)"
10) The Mekons: "Work All Week"
1) The Clash: "Remote Control"
2) James Chance: "Contort Yourself"
3) Art Brut: "Good Weekend"
4) Midnight Oil: "Dream World"
5) J. Geils Band: "Where Did Our Love Go?"
6) Ducks Deluxe: "Something's Going On"
7) Sarah Borges & the Broken Singles: "Stop and Think It Over"
8) Reigning Sound: "Drowning"
9) The Judybats: "She Lives (In a Time of Her Own)"
10) The Mekons: "Work All Week"
Jazz Blog Special: Pepper Adams and Jimmy Knepper, 'The Pepper-Knepper Quintet'
"The Pepper-Knepper Quintet," a 1958 collaboration between baritone saxophonist Pepper Adams and trombonist Jimmy Knepper, reminds me of some of the great blowing contests between saxophonists Eddie "Lockjaw" Davis and Sonny Stitt. Both sets of horn players made music that is lively and warm. The difference is that Adams and Knepper are battling in the lower registers, which gives their tunes some extra heft.
The album opens with "Minor Catastrophe," a lively hard bop tune written by the singer Jon Hendricks. Adams and Knepper race through their solos before stepping aside briefly for excellent solos by pianist Wynton Kelly, bassist Doug Watkins and drummer Elvin Jones. Watkins and Jones drive Adams and Knepper even harder on "Beaubian" and "Adams in the Apple."
They slow down for Duke Ellington's "All Too Soon," with Adams' solo sounding like a deep echo of Ben Webster's solo for the Ellington orchestra. And Knepper contributes what is surely one of the most beautiful trombone solos in jazz. The group's interpretation of Ellington's "I Didn't Know About You" also stands out, largely because Kelly switches to organ, adding a luxurious undercurrent to the tune.
This quintet ranks among the finest of the '50s and it's certainly one of the most distinctive.
(Jazz Blog Special is a regular feature that examine older jazz albums worth checking out.)
The album opens with "Minor Catastrophe," a lively hard bop tune written by the singer Jon Hendricks. Adams and Knepper race through their solos before stepping aside briefly for excellent solos by pianist Wynton Kelly, bassist Doug Watkins and drummer Elvin Jones. Watkins and Jones drive Adams and Knepper even harder on "Beaubian" and "Adams in the Apple."
They slow down for Duke Ellington's "All Too Soon," with Adams' solo sounding like a deep echo of Ben Webster's solo for the Ellington orchestra. And Knepper contributes what is surely one of the most beautiful trombone solos in jazz. The group's interpretation of Ellington's "I Didn't Know About You" also stands out, largely because Kelly switches to organ, adding a luxurious undercurrent to the tune.
This quintet ranks among the finest of the '50s and it's certainly one of the most distinctive.
(Jazz Blog Special is a regular feature that examine older jazz albums worth checking out.)
Tuesday, March 11, 2008
Cahl's Jukebox, 3-11-08
The daily mix:
1) Chris Kenner: "She Can Dance"
2) Elvis Presley: "My Baby Left Me"
3) Roy Hogsed: "Snake Dance Boogie"
4) Ivory Joe Hunter: "I Got to Learn to Do the Mambo"
5) Annisteen Allen: "G'wan About Your Business"
6) Big Maybelle: "Goin' Home Baby"
7) Huey "Piano" Smith: "She Got Low Down"
8) Clarence "Frogman" Henry: "Ain't Got No Home"
9) Mitch Ryder & the Detroit Wheels: "Sticks and Stones"
10) Carl Mann: "Rockin' Love"
1) Chris Kenner: "She Can Dance"
2) Elvis Presley: "My Baby Left Me"
3) Roy Hogsed: "Snake Dance Boogie"
4) Ivory Joe Hunter: "I Got to Learn to Do the Mambo"
5) Annisteen Allen: "G'wan About Your Business"
6) Big Maybelle: "Goin' Home Baby"
7) Huey "Piano" Smith: "She Got Low Down"
8) Clarence "Frogman" Henry: "Ain't Got No Home"
9) Mitch Ryder & the Detroit Wheels: "Sticks and Stones"
10) Carl Mann: "Rockin' Love"
Eddie Tigner: 'Slippin' In'
I always look forward to packages from Music Maker, a North Carolina-based relief organization that offers assistance to Southern blues and roots musicians in need of help. And the CD I got today, "Slippin' In" by Eddie Tigner, is a great one.
Tigner is an 81-year-old keyboard player who toured with the Ink Spots for three decades and accompanied Elmore James when the legendary blues guitarist lived in Atlanta. But though Tigner's an octogenarian, he plays with the energy of a teenager, especially on a rollicking rendition of "All Around the World," also known as "Grits Ain't Groceries."
When Tigner plays his Hammond organ, he sounds a bit like Wild Bill Davis. The blues ooze through his big, loping notes on "Heartbreak," the album's opening track, and his vocals are just as smooth. "Slippin' In," which Tigner wrote, is even better. Accompanied by the soulful guitar of Felix Reyes, Tigner uses his organ to create a slinky pastiche of jazz and blues.
His renditions of Louis Jordan's "Knock Me a Kiss" and Percy Mayfield's "Please Send Me Someone to Love" are also highlights. Tigner's singing and piano playing on both tunes will probably remind listeners of Charles Brown. And his cover of "Did You Ever See a Monkey Play the Fiddle" is sure to make listeners laugh.
I don't think "Slippin' In" is available to the record-buying public yet, but I'm sure it will be soon. In the meantime, I suggest you join Music Maker's Givin' It Back Record Club. You'll get a new CD every three months and you'll be helping some great musicians.
Tigner is an 81-year-old keyboard player who toured with the Ink Spots for three decades and accompanied Elmore James when the legendary blues guitarist lived in Atlanta. But though Tigner's an octogenarian, he plays with the energy of a teenager, especially on a rollicking rendition of "All Around the World," also known as "Grits Ain't Groceries."
When Tigner plays his Hammond organ, he sounds a bit like Wild Bill Davis. The blues ooze through his big, loping notes on "Heartbreak," the album's opening track, and his vocals are just as smooth. "Slippin' In," which Tigner wrote, is even better. Accompanied by the soulful guitar of Felix Reyes, Tigner uses his organ to create a slinky pastiche of jazz and blues.
His renditions of Louis Jordan's "Knock Me a Kiss" and Percy Mayfield's "Please Send Me Someone to Love" are also highlights. Tigner's singing and piano playing on both tunes will probably remind listeners of Charles Brown. And his cover of "Did You Ever See a Monkey Play the Fiddle" is sure to make listeners laugh.
I don't think "Slippin' In" is available to the record-buying public yet, but I'm sure it will be soon. In the meantime, I suggest you join Music Maker's Givin' It Back Record Club. You'll get a new CD every three months and you'll be helping some great musicians.
Monday, March 10, 2008
Cahl's Jukebox, 3-10-08
Monday morning jazz:
1) Dodo Marmarosa: "Dodo's Blues"
2) Roger Kellaway: "Killer Joe"
3) Phineas Newborn: "Don't You Know I Care"
4) Horace Parlan: "Jim Loves Sue"
5) Benny Carter: "Blue Star"
6) Illinois Jacquet: "Jan"
7) Art Pepper-Jimmy Knepper Quintet: "All Too Soon"
8) Rolf Billberg: "Yesterdays"
9) Harold Land: "Slowly"
10) Paul Desmond: "Time After Time"
1) Dodo Marmarosa: "Dodo's Blues"
2) Roger Kellaway: "Killer Joe"
3) Phineas Newborn: "Don't You Know I Care"
4) Horace Parlan: "Jim Loves Sue"
5) Benny Carter: "Blue Star"
6) Illinois Jacquet: "Jan"
7) Art Pepper-Jimmy Knepper Quintet: "All Too Soon"
8) Rolf Billberg: "Yesterdays"
9) Harold Land: "Slowly"
10) Paul Desmond: "Time After Time"
Sunday, March 09, 2008
Making Plans
Most of my students are in Florida, Mexico and Europe for Spring Break. I don't really envy them because I'm going to see Mel Rhyne and Rob Dixon on Wednesday at The Jazz Kitchen
If you live in central Indiana, you should think about joining me. Rhyne, the organist on most of Wes Montgomery's albums, was terrific when I saw him a couple of years ago and Dixon is a fine young saxophonist.
If you live in central Indiana, you should think about joining me. Rhyne, the organist on most of Wes Montgomery's albums, was terrific when I saw him a couple of years ago and Dixon is a fine young saxophonist.
Cahl's Jukebox, 3-9-08
The daily mix:
1) The Original Brothers and Sisters of Love: "Michigan and Trumbull"
2) The New Pornographers: "Graceland"
3) John P. Strohm: "Eva Braun"
4) John Eddie: "Let Me Down Hard"
5) Guy Forsyth: Beautiful Mistake"
6) Chuck Prophet: "Freckle Song"
7) Bobby Fuller Four: "Baby My Heart"
8) The Kinks: "Apeman"
9) Marah: "Angels of Destruction"
10) Gurf Morlix: "Madalyn's Bones"
1) The Original Brothers and Sisters of Love: "Michigan and Trumbull"
2) The New Pornographers: "Graceland"
3) John P. Strohm: "Eva Braun"
4) John Eddie: "Let Me Down Hard"
5) Guy Forsyth: Beautiful Mistake"
6) Chuck Prophet: "Freckle Song"
7) Bobby Fuller Four: "Baby My Heart"
8) The Kinks: "Apeman"
9) Marah: "Angels of Destruction"
10) Gurf Morlix: "Madalyn's Bones"
Saturday, March 08, 2008
Bummer
Good thing I checked the Lafayette Brewing Company page before heading out the door tonight because Wayne Hancock's show has been canceled. I was really looking forward to the concert. I'm guessing weather was the problem because Hancock was scheduled to appear in Cleveland last night and Ohio got blasted by snow.
Oh well; the little hellhound and I will get to spend some quality time together while we listen to Hancock's albums.
Oh well; the little hellhound and I will get to spend some quality time together while we listen to Hancock's albums.
Cahl's Jukebox, 3-8-08
It's Saturday and my students have left for Spring Break. Let's rock.
1) Paul Revere and the Raiders: "I'm Not Your Stepping Stone"
2) Steve Wynn: "All the Squares Go Home"
3) Built to Spill: "Going Against Your Mind"
4) The Hentchmen: "Poor Sherilee"
5) The Diposmaniacs: "Student Driver"
6) The Mr. T Experience: "Lawnmower of Love"
7) The Ramones: "I Wanna Live"
8) Bush Tetras: "Too Many Creeps"
9) The Balloon Farm: "A Question of Temperature"
10) Dave Edmunds: "Me and the Boys"
1) Paul Revere and the Raiders: "I'm Not Your Stepping Stone"
2) Steve Wynn: "All the Squares Go Home"
3) Built to Spill: "Going Against Your Mind"
4) The Hentchmen: "Poor Sherilee"
5) The Diposmaniacs: "Student Driver"
6) The Mr. T Experience: "Lawnmower of Love"
7) The Ramones: "I Wanna Live"
8) Bush Tetras: "Too Many Creeps"
9) The Balloon Farm: "A Question of Temperature"
10) Dave Edmunds: "Me and the Boys"
The Death of Smooth Jazz?
The Washington Post has an interesting story about the decline of smooth jazz. It seems that many radio stations are abandoning the format.
One part of me says it's about time — I've always been baffled that some folks would choose Kenny G over Sonny Rollins or Cannonball Adderley and Chris Botti over Miles Davis and Dizzy Gillespie. But, really, I don't give a damn — I don't understand why people choose Celine Dion over Sarah Vaughan and Journey over the Rolling Stones either. And perhaps Kenny G is right when he says his music might lead some listeners to Sonny Rollins and Charlie Parker.
Besides, I seriously doubt that corporate-run radio stations will replace smooth jazz with classic jazz. Instead, I'm betting they'll change to an oldies schlock format that features The Osmonds ... and that does bother me.
One part of me says it's about time — I've always been baffled that some folks would choose Kenny G over Sonny Rollins or Cannonball Adderley and Chris Botti over Miles Davis and Dizzy Gillespie. But, really, I don't give a damn — I don't understand why people choose Celine Dion over Sarah Vaughan and Journey over the Rolling Stones either. And perhaps Kenny G is right when he says his music might lead some listeners to Sonny Rollins and Charlie Parker.
Besides, I seriously doubt that corporate-run radio stations will replace smooth jazz with classic jazz. Instead, I'm betting they'll change to an oldies schlock format that features The Osmonds ... and that does bother me.
Friday, March 07, 2008
Ouch
X will be at The Vogue in Indianapolis on March 18 and I can't go because I'm giving a seminar that evening. I'm not happy.
Cahl's Jukebox, 3-7-08
Friday morning jazz:
1) Sonny Clark: "Deep Night"
2) Art Pepper: "Labrynth"
3) Keith Jarrett: "Le Mistral"
4) Dewey Redman: "Love Is"
5) Miguel Zenon: "Villaran"
6) Jaki Byard: "Twelve"
7) Milt Jackson and John Coltrane: "The Night We Called It a Day"
8) Wynton Kelly: "Keep It Moving"
9) Red Garland: "Red Alert"
10) Sam Jones: "Sonny Boy"
1) Sonny Clark: "Deep Night"
2) Art Pepper: "Labrynth"
3) Keith Jarrett: "Le Mistral"
4) Dewey Redman: "Love Is"
5) Miguel Zenon: "Villaran"
6) Jaki Byard: "Twelve"
7) Milt Jackson and John Coltrane: "The Night We Called It a Day"
8) Wynton Kelly: "Keep It Moving"
9) Red Garland: "Red Alert"
10) Sam Jones: "Sonny Boy"
Gonzalo Rubalcaba: 'Avatar'
I knew before I bought "Avatar" that Gonzalo Rubalcaba was one of the finest jazz musicians of his generation. The Cuban-born pianist has been excelling as a leader and a sideman for more than 20 years. But I wasn't quite prepared for the energy he brought to his latest recording.
Rubalcaba seems driven by the youthful exuberance, and skill, of his own young sidemen: saxophonist Yosvany Terry, trumpeter Mike Rodriguez, bassist Matt Brewer and drummer Marcus Gilmore. Together, they stir elements of post-bop jazz, Afro-Cuban rhythms, classical music and even hip-hop into an enticing brew.
At times, Rubalcaba almost attacks his piano. But there's a vibrancy to his play, even on the album's quietest moments. Much like Keith Jarrett, Rubalcaba always plays notes that seem to resonate, to linger. That's especially true on "Preludio Corto No. 2 for Piano," which features some especially spiritual interplay between Rubalcaba and Brewer.
The three songs by Terry are also highlights. Terry is terrific on saxophone, grooving hard and unpredictably. Rodriguez plays great, too, adding some beautiful solos. And Marcus Gilmore sounds like a youthful version of his grandfather, drummer Roy Haynes.
It's rare when I hear a new jazz album that surprises me, but "Avatar" did ... and I hear something fresh with every listen.
Rubalcaba seems driven by the youthful exuberance, and skill, of his own young sidemen: saxophonist Yosvany Terry, trumpeter Mike Rodriguez, bassist Matt Brewer and drummer Marcus Gilmore. Together, they stir elements of post-bop jazz, Afro-Cuban rhythms, classical music and even hip-hop into an enticing brew.
At times, Rubalcaba almost attacks his piano. But there's a vibrancy to his play, even on the album's quietest moments. Much like Keith Jarrett, Rubalcaba always plays notes that seem to resonate, to linger. That's especially true on "Preludio Corto No. 2 for Piano," which features some especially spiritual interplay between Rubalcaba and Brewer.
The three songs by Terry are also highlights. Terry is terrific on saxophone, grooving hard and unpredictably. Rodriguez plays great, too, adding some beautiful solos. And Marcus Gilmore sounds like a youthful version of his grandfather, drummer Roy Haynes.
It's rare when I hear a new jazz album that surprises me, but "Avatar" did ... and I hear something fresh with every listen.
Thursday, March 06, 2008
Cahl's Jukebox, 3-6-08
It's Twang Thursday:
1) Buddy Miller: "Sometimes I Cry"
2) Montgomery Gentry: "If You Ever Stop Loving Me"
3) Wayne Hancock: "Life on the Road"
4) James Hand: "Here Lies a Good Old Boy"
5) Webb Pierce: "Honky Tonk Song"
6) Steve Young: "Rocksalt and Nails"
7) Don Gibson: "I Can't Stop Loving You"
8) Merle Haggard: "Some of Us Never Learn"
9) Hank Locklin: "Blue Grass Skirt"
10) Roy Acuff: "I'm So Lonesome I Could Cry"
1) Buddy Miller: "Sometimes I Cry"
2) Montgomery Gentry: "If You Ever Stop Loving Me"
3) Wayne Hancock: "Life on the Road"
4) James Hand: "Here Lies a Good Old Boy"
5) Webb Pierce: "Honky Tonk Song"
6) Steve Young: "Rocksalt and Nails"
7) Don Gibson: "I Can't Stop Loving You"
8) Merle Haggard: "Some of Us Never Learn"
9) Hank Locklin: "Blue Grass Skirt"
10) Roy Acuff: "I'm So Lonesome I Could Cry"
Peter Rowan: 'Texican Badman'
"Sweet Melinda," the first track on Peter Rowan's "Texican Badman," released in 1980, sounds all the world like it belongs on a Loggins and Messian album. It's a peppy tune filled with glorious twangy harmonies.
Many of the album's songs also sound a bit like something you'd find on a Townes Van Zandt album. For the most part, though, I'm reminded of the music on "Old and in the Way," the wonderful bluegrass collaboration between Jerry Garcia and David Grisman. That's to be expected, I suppose, because Rowan played guitar and sang on "Old and in the Way," and Garcia and Grisman returned the favor for "Texican Badman." (Garcia plays a hell of a steel guitar.)
Rowan's a good songwriter, but he's an even beter interpreter — check out his emotional rendition of Hank Williams' "I Can't Help It (If I'm Still in Love with You)." It's a great track on an album worth checking out.
Many of the album's songs also sound a bit like something you'd find on a Townes Van Zandt album. For the most part, though, I'm reminded of the music on "Old and in the Way," the wonderful bluegrass collaboration between Jerry Garcia and David Grisman. That's to be expected, I suppose, because Rowan played guitar and sang on "Old and in the Way," and Garcia and Grisman returned the favor for "Texican Badman." (Garcia plays a hell of a steel guitar.)
Rowan's a good songwriter, but he's an even beter interpreter — check out his emotional rendition of Hank Williams' "I Can't Help It (If I'm Still in Love with You)." It's a great track on an album worth checking out.
Wednesday, March 05, 2008
Cahl's Jukebox, 3-5-08
The daily mix:
1) David Lindley: "Twist and Shout"
2) Little Village: "Solar Sex Panel"
3) Deborah Harry: "Comic Books"
4) Suzanne Vega: "Blood Makes Noise"
5) Sleater-Kinney: "You're No Rock 'n' Roll Fun"
6) The Plimsouls: "Million Miles Away"
7) The Buzzcocks: "Orgasm Addict"
8) Guided By Voices: "Run Wild"
9) The Pixies: "Rock a My Soul"
10) The Zombies: "She Does Everything for Me"
1) David Lindley: "Twist and Shout"
2) Little Village: "Solar Sex Panel"
3) Deborah Harry: "Comic Books"
4) Suzanne Vega: "Blood Makes Noise"
5) Sleater-Kinney: "You're No Rock 'n' Roll Fun"
6) The Plimsouls: "Million Miles Away"
7) The Buzzcocks: "Orgasm Addict"
8) Guided By Voices: "Run Wild"
9) The Pixies: "Rock a My Soul"
10) The Zombies: "She Does Everything for Me"
Johnny Hodges: 'The Complete Verve Johnny Hodges Small Group Sessions'
I hadn't planned to buy "The Complete Verve Johnny Hodges Small Group Sessions" until Mosaic sent an email a few weeks ago alerting me that supplies of the six-CD box set were running low.
I decided to spend $100 on the set because because I still regret not buying Mosaic's limited edition Gerry Mulligan box set before it sold out. In reality, it wasn't much of a choice. I love Hodges, and though I own scores of Duke Ellington albums on which he played, I had only two of Hodges' solo albums. Moreover, the 10 Mosaic sets I'd previously bought are all exceptional. In fact, they're among my most treasured possessions.
I've rarely spent a hundred bucks more wisely. I wonder whether there's anything prettier than a duet between Johnny Hodges and Ben Webster. The saxophonists collaborate on a number of tracks on this album. Listening to the way Hodges interacts with the sassy trumpet playing of Roy Eldridge is special, too. You'll also find Hodges collaborating with Clark Terry, Jimmy Hamilton, Ray Nance, Harry Carney, Billy Strayhorn, Jimmy Woode and Quentin Jackson — the bones of one of Ellington's best bands.
Mosaic was licensed to produce just 7,500 copies of the set. Get a copy while you can.
I decided to spend $100 on the set because because I still regret not buying Mosaic's limited edition Gerry Mulligan box set before it sold out. In reality, it wasn't much of a choice. I love Hodges, and though I own scores of Duke Ellington albums on which he played, I had only two of Hodges' solo albums. Moreover, the 10 Mosaic sets I'd previously bought are all exceptional. In fact, they're among my most treasured possessions.
I've rarely spent a hundred bucks more wisely. I wonder whether there's anything prettier than a duet between Johnny Hodges and Ben Webster. The saxophonists collaborate on a number of tracks on this album. Listening to the way Hodges interacts with the sassy trumpet playing of Roy Eldridge is special, too. You'll also find Hodges collaborating with Clark Terry, Jimmy Hamilton, Ray Nance, Harry Carney, Billy Strayhorn, Jimmy Woode and Quentin Jackson — the bones of one of Ellington's best bands.
Mosaic was licensed to produce just 7,500 copies of the set. Get a copy while you can.
Tuesday, March 04, 2008
Cahl's Jukebox, 3-4-08
The daily mix:
1) Ray Charles: "Moanin'"
2) Willis "Gator" Jackson: "Blow Jackson Blow"
3) Earl Bostic: "Hurricane Blues"
4) Little Richard: "I'm Just a Lonely Guy"
5) Jesse Belvin: "Blues Has Got Me"
6) Sam Cooke: "You Gotta Move"
7) Ernie K-Doe: "Real Man"
8) Big Joe Turner: "Since I Was Your Man"
9) Roy Brown: "Cadillac Baby"
10) Wynonie Harris: "Young and Wild"
1) Ray Charles: "Moanin'"
2) Willis "Gator" Jackson: "Blow Jackson Blow"
3) Earl Bostic: "Hurricane Blues"
4) Little Richard: "I'm Just a Lonely Guy"
5) Jesse Belvin: "Blues Has Got Me"
6) Sam Cooke: "You Gotta Move"
7) Ernie K-Doe: "Real Man"
8) Big Joe Turner: "Since I Was Your Man"
9) Roy Brown: "Cadillac Baby"
10) Wynonie Harris: "Young and Wild"
Elis Regina and Maria Rita
I'm in love with the late Brazilian singer Elis Reginia and with her daughter, Maria Rita.
Elis Regina always strikes the same emotional chords in me that Nina Simone and Billie Holiday do. I highly recommend her "Falso Brilhante" album.
Maria Rita has a lovely voice, too. Her music always reminds me of spring, and on a dreary early March evening her self-titled debut is almost perfect.
I'm betting you'll fall in love, too, after watching these clips of the Brazilian divas.
Elis Regina always strikes the same emotional chords in me that Nina Simone and Billie Holiday do. I highly recommend her "Falso Brilhante" album.
Maria Rita has a lovely voice, too. Her music always reminds me of spring, and on a dreary early March evening her self-titled debut is almost perfect.
I'm betting you'll fall in love, too, after watching these clips of the Brazilian divas.
Monday, March 03, 2008
Cahl's Jukebox, 3-3-08
Monday morning jazz:
1) James Williams: "A Portrait of Elvin"
2) Greg Osby: "Light Blue"
3) Don Byron: "Diego Rivera"
4) John Coltrane: "Like Sonny"
5) Ornette Coleman: "Love Call"
6) Eric Dolphy: "Out to Lunch"
7) Albert Ayler: "Our Prayer"
8) Andrew Hill: "New Monastery"
9) Steven Bernstein & Millennial Territory Orchestra: "Cry Baby Cry"
10) Roy Haynes and Booker Ervin: "Dorian"
1) James Williams: "A Portrait of Elvin"
2) Greg Osby: "Light Blue"
3) Don Byron: "Diego Rivera"
4) John Coltrane: "Like Sonny"
5) Ornette Coleman: "Love Call"
6) Eric Dolphy: "Out to Lunch"
7) Albert Ayler: "Our Prayer"
8) Andrew Hill: "New Monastery"
9) Steven Bernstein & Millennial Territory Orchestra: "Cry Baby Cry"
10) Roy Haynes and Booker Ervin: "Dorian"
'Express Yourself: The Best of Charles Wright and the Watts 103rd Street Rhythm Band'
No doubt you've heard Charles Wright and the Watts 103rd Street Band. Their music's been featured in "Boogie Nights," "Remember the Titans" and "Mr. and Mrs. Smith." Advertisers have used their tunes in commercials and rappers have funked up tons of hip-hop tunes with samples of the band's music.
My question is how could anyone have heard tunes such as "Express Yourself," "Do Your Thing" and "Spreadin' Honey" without rushing to a record store in search of one of the group's albums. Seriously. Order "Express Yourself: The Best of Charles Wright and the Watts 103rd Street Rhythm Band"now.
I love Sly and the Family Stone and War, but Charles Wright and the Watts 103rd Street Rhythm Band were just as funky and a lot jazzier. Charles Wright's horn section — which consisted of Big John Rayford, Bill Cannon, Ray Jackson and Gabe Flemings — was one of the best in the business.
And talk about sexy ... just listen to "Till You Get Enough." The tune starts with Al McKay's simple rhythmic guitar riff that sounds a lot like something Pops Staples might have played. Then you hear Wright's sweet vocals. At first, he sounds as if he's singing a gospel song; then you figure out he's moaning. The more I listen, the more it sounds like the horn section's moaning, too. And the song's undulating funk almost mimics the sounds of sex. "Your Love (Means Everything to Me)" heats up even more; it reminds me a little of Toots Hibbert's reggae interpretations of Al Green songs.
You'd have to be pretty old to keep from dancing when you hear the pulsing instrumental funk on "The Joker (On A Trip Thru The Jungle)" and "65 Bars And A Taste Of Soul." But even folks in the nursing home will be swaying in their wheelchairs when they hear "Doin' What Comes Naturally," which provided a musical roadmap for the funk bands that followed Charles Wright and the Watts 103rd Street Band.
Save the slow grooving "Tell Me What You Want Me to Do" for when you need to cool down. And trust me, you'll need some decompression time after listening to this album.
My question is how could anyone have heard tunes such as "Express Yourself," "Do Your Thing" and "Spreadin' Honey" without rushing to a record store in search of one of the group's albums. Seriously. Order "Express Yourself: The Best of Charles Wright and the Watts 103rd Street Rhythm Band"now.
I love Sly and the Family Stone and War, but Charles Wright and the Watts 103rd Street Rhythm Band were just as funky and a lot jazzier. Charles Wright's horn section — which consisted of Big John Rayford, Bill Cannon, Ray Jackson and Gabe Flemings — was one of the best in the business.
And talk about sexy ... just listen to "Till You Get Enough." The tune starts with Al McKay's simple rhythmic guitar riff that sounds a lot like something Pops Staples might have played. Then you hear Wright's sweet vocals. At first, he sounds as if he's singing a gospel song; then you figure out he's moaning. The more I listen, the more it sounds like the horn section's moaning, too. And the song's undulating funk almost mimics the sounds of sex. "Your Love (Means Everything to Me)" heats up even more; it reminds me a little of Toots Hibbert's reggae interpretations of Al Green songs.
You'd have to be pretty old to keep from dancing when you hear the pulsing instrumental funk on "The Joker (On A Trip Thru The Jungle)" and "65 Bars And A Taste Of Soul." But even folks in the nursing home will be swaying in their wheelchairs when they hear "Doin' What Comes Naturally," which provided a musical roadmap for the funk bands that followed Charles Wright and the Watts 103rd Street Band.
Save the slow grooving "Tell Me What You Want Me to Do" for when you need to cool down. And trust me, you'll need some decompression time after listening to this album.
Sunday, March 02, 2008
Cahl's Jukebox, 3-2-08
The daily mix:
1) Gilberto Gil: "Parabolicamara"
2) Laurindo Almeida: "Outra Vez"
3) Ry Cooder & Manuel Galban: "La Luna En Tu Mirada"
4) Juan Luis Guerra: "Ojalà Que Llueva Café"
5) Spanish Harlem Orchestra: "Llego La Banda"
6) Maraca: "Pa' Gozar Pilón"
7) Fela Kuti: "Eko Ille"
8) David Murray & the Gwo-Ka Masters: "Gwotet"
9) Art Blakey: "The Feast"
10) Tania Maria: "Yes is the Way to Go"
1) Gilberto Gil: "Parabolicamara"
2) Laurindo Almeida: "Outra Vez"
3) Ry Cooder & Manuel Galban: "La Luna En Tu Mirada"
4) Juan Luis Guerra: "Ojalà Que Llueva Café"
5) Spanish Harlem Orchestra: "Llego La Banda"
6) Maraca: "Pa' Gozar Pilón"
7) Fela Kuti: "Eko Ille"
8) David Murray & the Gwo-Ka Masters: "Gwotet"
9) Art Blakey: "The Feast"
10) Tania Maria: "Yes is the Way to Go"
Chuchito Valdez at the Jazz Kitchen
Chuchito Valdez must have drawn inspiration from the tiger shirt he was wearing Saturday night at the Jazz Kitchen in Indianapolis because he pounced on the keys of his piano. I tried to watch his hands in the reflection of the piano, but they were usually just a blur; the dude must have calluses thicker than some people’s fingers.
Valdez, the son of Chucho Valdez and the grandson of Bebo Valdez — both Latin jazz legends — obviously learned a lot from his famous relatives, but his percussive style also included bits of bebop, blues, rock and even classical music. And it seems to me Valdez must have studied Thelonious Monk’s albums carefully, too. It’s pretty cool to hear Latin jazz punctuated by flurries of discordant notes.
His band — which included a conga player, a drummer and a bassist — was great, too. I wonder whether there’s a more powerful Latin jazz combo working today. I doubt it.
Valdez, the son of Chucho Valdez and the grandson of Bebo Valdez — both Latin jazz legends — obviously learned a lot from his famous relatives, but his percussive style also included bits of bebop, blues, rock and even classical music. And it seems to me Valdez must have studied Thelonious Monk’s albums carefully, too. It’s pretty cool to hear Latin jazz punctuated by flurries of discordant notes.
His band — which included a conga player, a drummer and a bassist — was great, too. I wonder whether there’s a more powerful Latin jazz combo working today. I doubt it.
Saturday, March 01, 2008
Cahl's Jukebox, 3-1-08
Friday morning jazz:
1) Kenny Drew Jr.: "Children's Games"
2) Attila Zoller: "Another Kind of Love"
3) Michel Camilo: "Two of a Kind"
4) Bill Waltrous: "Change Partners"
5) Hans Glawischnig: "Gypsy Tales"
6) David Sanchez: "Cuban Fantasy"
7) Danilo Perez: "Blues for the Saints"
8) Sherman Irby: "Passage of Time"
9) Billy Harper: "Soul of an Angel"
10) Clayton Brothers: "Next Time"
1) Kenny Drew Jr.: "Children's Games"
2) Attila Zoller: "Another Kind of Love"
3) Michel Camilo: "Two of a Kind"
4) Bill Waltrous: "Change Partners"
5) Hans Glawischnig: "Gypsy Tales"
6) David Sanchez: "Cuban Fantasy"
7) Danilo Perez: "Blues for the Saints"
8) Sherman Irby: "Passage of Time"
9) Billy Harper: "Soul of an Angel"
10) Clayton Brothers: "Next Time"
Ben Folds and Eef Barzelay Concert at Purdue
Twenty-nine years ago, a crowd of young Purdue preppies booed jazz guitarist Larry Coryell off the stage as he opened for America. The students at tonight’s Ben Folds show at Purdue didn’t boo Eef Barzelay, who opened the show. Nah, the little pissants yapped throughout the set … and that’s a lot worse, if you ask me.
Admittedly, Barzelay’s nasally voice is an acquired taste for some, but the leader of Clem Snide is one of our best songwriters. And interesting as students' Spring Break plans might be, I’d rather hear Barzelay sing about a model on a Ludacris video who thinks she’s surrounded by hoochie skanks. Didn’t these kids’ parents, probably my old classmates who booed Coryell, ever talk about good manners? Guess not.
Barzelay opened his set with a slinky cover of Clem Snide’s “Something Beautiful.” The falsetto screeches he used to punctuate the choruses were goofy, sure, but that’s one of the things that make him so endearing. He’s also sensitive and clever. If the audience had shut up long enough to hear Barzelay sing “Mike Kalinsky,” another Clem Snide song, they’d have figured that out.
The good news is that Barzelay has a new album coming out; I’m looking forward to hearing the music from it without a bunch of chatter about sunblock and beachside condos.
Ben Folds has a new album coming out, too. “One of its tracks, a song called “Hiroshima,” is a hilarious account of Folds falling off a stage during a show in Japan. Folds’ cover of Dr. Dre’s “Bitches Ain’t Shit” is even funnier.
The highlights of the show, at least for me, were a raucous rendition of “Rockin’ the Suburbs” and the instrumental portions of the songs. On many songs, Folds pounds on his piano like he’s Jerry Lee Lewis. But his solos are filled with beautiful piano runs that sound almost like jazz.
I was also impressed by Folds’ rapport with the audience. He joked with audience members throughout the show and led them in sing-alongs. He even managed to keep the audience quiet for most of the set. And trust me … that was quite a task.
Admittedly, Barzelay’s nasally voice is an acquired taste for some, but the leader of Clem Snide is one of our best songwriters. And interesting as students' Spring Break plans might be, I’d rather hear Barzelay sing about a model on a Ludacris video who thinks she’s surrounded by hoochie skanks. Didn’t these kids’ parents, probably my old classmates who booed Coryell, ever talk about good manners? Guess not.
Barzelay opened his set with a slinky cover of Clem Snide’s “Something Beautiful.” The falsetto screeches he used to punctuate the choruses were goofy, sure, but that’s one of the things that make him so endearing. He’s also sensitive and clever. If the audience had shut up long enough to hear Barzelay sing “Mike Kalinsky,” another Clem Snide song, they’d have figured that out.
The good news is that Barzelay has a new album coming out; I’m looking forward to hearing the music from it without a bunch of chatter about sunblock and beachside condos.
Ben Folds has a new album coming out, too. “One of its tracks, a song called “Hiroshima,” is a hilarious account of Folds falling off a stage during a show in Japan. Folds’ cover of Dr. Dre’s “Bitches Ain’t Shit” is even funnier.
The highlights of the show, at least for me, were a raucous rendition of “Rockin’ the Suburbs” and the instrumental portions of the songs. On many songs, Folds pounds on his piano like he’s Jerry Lee Lewis. But his solos are filled with beautiful piano runs that sound almost like jazz.
I was also impressed by Folds’ rapport with the audience. He joked with audience members throughout the show and led them in sing-alongs. He even managed to keep the audience quiet for most of the set. And trust me … that was quite a task.
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