Chances are good that, if you listen to jazz and/or attend concerts, you probably have heard vocalist Aubrey Johnson. She has worked and recorded with Bobby McFerrin, Andrew Rathbun's Large Ensemble, John Zorn's Mycale, Fred Hersch's Pocket Orchestra, and others. She studied at Western Michigan University and then studied at The New England Conservatory of Music in Boston, MA. Ms. Johnson also toured with her uncle, keyboardist Lyle Mays, who had written several pieces for her. Currently, she's on the faculty of both the Berklee College of Music and Queens College in New York City.
Over her years in Boston and New York, Ms. Johnson assembled a group of musicians, presented them with a repertoire of originals, covers, and standards; in 2017, the ensemble, composed of Tomoko Omura (violin), Michael Sachs (bass clarinet, alto saxophone), Matt Aronoff (bass), Jeremy Noller (drums), Chris Ziemba (piano) plus guest Vitor Gonçalves (accordion on two tracks), went into the studio and the results can be heard on "Unraveled" (Outside In Music). As you listen to the 10 tracks, one can tell this is a band that truly connects with the music and do their utmost to create a canvas that the voice can paint myriad sounds. The album opens with "No More I Love You", composed by the British duo The Lover Speaks which Annie Lenox covered quite successfully in the mid 1990s. As opposed to the "electronic pop" sounds of the original and the "hit" version, Ms. Johnson pick up the tempo, riding it forward atop the dancing drums, Ms. Omura's plucked and bowed violin plus the handsome bass clarinet sounds. Play attention to Ziemba's wide-ranging solo as well as how easily the vocalist moves through her impressive range without sounding forced or facile. This version is nowhere near as campy as Ms. Lennox's (based on her "Cabaret"-esque video).
The songs connect on multiple levels. Musically, the band is top-notch while many of the songs are emotionally rich. "Lie In Wait" (composed by the leader) pulls you on the strength of the human voice yet note the rich alto saxophone sounds (and powerful solo), the rich piano chords, and Aronoff's resonant bass lines. The violinist composed and arranged "Voice Is Magic"; with its spare melody, the music opens up to fine solo from the composer, Ziemba, and a sparkling wordless vocal interaction with Zach's bass clarinet. Also listen closely when Ms. Johnson sings the lyrics as they switch from Portuguese to Japanese.
The group takes the oft-recorded "Peacocks" (music by Jimmy Rowles, lyrics by Norma Winstone) and makes it their own. The ballad unfolds slowly, the bass clarinet rings out beneath the voice, Noller's gentle brush work, and the deliberate piano lines plus the lyrical alto sax solo caress and surround the voice with such care that even the intensity that builds in the second half of the piece is organic.
The album closes with Egberto Gismonti's "Karate", a playful vocal-piano-accordion interaction that includes breathless runs, classical piano riffs, and a sense of joy unleashed. When Ms. Johnson and Gonçalves sing and play the stunning phrases, it not only startles the listener but makes one laugh with pleasure. It's hard to find the albums Aubrey Johnson recorded with Ron Di Salvio and drummer Jimmy Cobb but the presence and confidence she displays on "Unraveled" reveals is such a positive for contemporary music as it moves forward!
When vocalist-educator-composer Jeff Baker speaks, one should pay attention. He has started his own record label – Next Music – and the initial release is the debut album of Sam Tru (not to be confused with Sam Tsui, hip hop artist who also records under the monicker Sam Tru). "Cycle" features her original songs (many co-authored by producer-mentor Baker) with the help of Clark Sommers (bass), Matt Carroll (drums), Justin Nielson (piano, keyboards), and guitarist Gregory Uhlmann. The title tune moves in on a rhythm that blends soul influences with West African guitar and flies on the strength of the rich vocal sound of Ms. Tru. That tune as well as the blues-infused "Doing Fine" brings Bonnie Raitt to mind. Ms. Tru has a impressive range never straining to hit higher or lower notes plus she articulates so that one hears every word.
These songs resonate in one's mind. The slow, simmering, "Not Enough Liquor" tells of the frustration of love and obsession – note how the band builds the tension beneath the lyrics. Even more powerful is "Please Don't Go" that fervently speaks to a lover; the drums really push this piece as the piano and guitars color in the background. "So Far Away" (not the Carole King song) speaks to a relationship in the midst of ennui. For the singer, time slows, drags, in the absence of a partner. Again the power of the rhythm section and Ms. Tru's heartfelt vocal drive the emotions in the song.
"Cycle" closes with "Wheel." At 9:22, it's the longest track on the album, a slow love song infused with a soulful vocal that takes its time to unwind. Uhlmann plays a subtle solo in the middle of the piece that leads back to the voice. The intensity picks up in the final two minutes as the lyrics reminds us that the "wheel" often turns back to the ones we love.
Sam Tru makes quite a positive impression with her debut album. If you are a fan of Bonnie Raitt, Sara Bareilles, and other vocalists who reach into the heart to tell their stories, then "Cycle" will please you. It's not a jazz vocal album but one hears so many possibilities in these songs that the future bodes well for this singer-songwriter.
Composer, vocalist, violinist, co-founder of The Knights, and educator Christina Courtin has her hands and feet in so many different genres. She and bassist Michael LaValle lead a group called Pilot Violet, she's worked with Lee Ann Womack, Doyle Bramhall II, Sara Bareilles, and many others in the folk, country, and classical worlds. Ms. Courtin has been recording as a solo artist since the mid-2000s with her first full-length album (self-titled) issued in 2009 on Nonesuch Records followed in 2013 with "Varsity" on High Pockets Records. She's now signed to Brooklyn Rider violinist Johnny Gandelsman's In a Circle Records and her new album "Situation Station" has just been issued
Knowing her classical background probably won't necessarily prepare you for the fascinating worlds Ms. Courtin creates on the recording. Despite the great number of musicians (see below), the lyrics are never crowded out by the instrumentalists. Her range is impressive – opening with "Japanese Maple Tree", a lovely, hypnotic, ballad that is reminiscent of both Randy Newman and Tori Amos that leads directly into the poppy "Stare Into The Sun" which, thanks to the whistling (listen below), would not sound out of place on a Bruno Mars album (and it sounds like Joni Mitchell). Listen to how Ms. Courtin's voice swells with The Knights on "Bouquet" and how she rocks impressively on the country-rock on "Life So Far" (listen to the strings "rock out").
From the beginning of the program, one is impressed by the vocal range and creativity of Ms. Courtin. The title song channels Harry Nilsson and The Beatles with a delightful melody, swirling strings, and a mid-section that rocks hard. "Coyote Midnight" opens with trance-like electric piano over which the vocal tells the story of a broken relationship. There's powerful tenor sax from Doug Wiselman and a chorus reminiscent of some of Don Henley's ballads. The tension between the rising strings, the torrent of notes from the saxophone, and Ms. Courtin's emotional vocal pull the listener in looking for release and relief.
"Situation Station" closes with "You Held Me Up", another powerful ballad with The Knights as accompaniment (watch the video below). Again, there's a touch of Randy Newman in the arrangement and the song is short but ever-so-strong. Christina Courtin has made a recording that stands out in a year of impressive albums, the program bursting with creativity and excellent musicianship plus songs that not only entertain but touch the heart. Listen, listen with open ears and mind.
Christina Courtin - vocals, violin, whistle, electric celeste Greg Cohen - acoustic bass Danny Fox - piano, prepared piano, Rhodes, electric harpsichord Michael LaValle - electric bass guitar Chris Parker - acoustic guitar, electric guitar, mandola, slide guitar James Shipp - synthesizers, sequence, shruti box, riq Doug Wiselman - tenor saxophone ("Coyote Midnight") Kenny Wollesen - drums Plus:
The Knights, Eric Jacobsen - conductor
Violins Christina Courtin, Sonya Chung, Nana Iwata, Colin Jacobsen, Ariana Kim, Salley Koo, Michelle Lie Yaira Matyakubova, Ross Snyder . Violas Kyle Armbrust, Mario Gotoh, Miranda Sielaff, Alissa Smith Cellos Andrea Lee, Karen Ouzounian, Caitlin Sullivan, Michael Unterman
Flute Alex Sopp Clarinet Agnes Marchione Bassoon Eddie Burns Horn Mike Atkinson Bass Logan Coale
The joy of discovering a new voice is how the power of what he or she does with his or her music can alter the listener's life. On January 20th, Ashley Daneman releases "Beauty Indestructible", her second album (but first to spotlight her work as a composer, singer and arranger), a stunning personal statement filled with strong melodies, lovely harmonies and the promise of redemption. Several years ago, the artist was diagnosed with PTSD and worked very hard to overcome the stresses that it put on her and family. This music is a celebration of life, of how music can heal and how one can begin to make a difference in the lives of others.
Ms. Daneman has written that she grew up listening to Joni Mitchell and Ella Fitzgerald; one can hear traces of both those artists on these tracks but much of this music reminds me of Laura Nyro. The blend of pop, rhythm 'n' blues and jazz that permeates pieces such as "How You Got to Yes", "Think on Whatever Is Lovely" and the title track is dramatic yet intimate. The playfulness of "This is Somebody Else's Piano", with its poppy bouncing rhythms, overdubbed choir of trumpets and sprightly vocal is great fun. Kudos to her band, especially the splendid percussion work of Michael W. Davis, the subtle keyboards of David Izard and the solid foundational work of bassist Sam Weber.Add to those voices the contributions of cellist Amali Premawardhana, guitarist Matt Davis and the singer's husband Benje Daneman on trumpet and this music has plenty of color.
But, what truly makes this music stand out is Ms. Daneman's voice and presence. Her assured singing, the smart vocal overdubs and the soulful quality of her delivery fills the speakers, spreading through the room and pulls you in. "Sing ('til You're Good and Live)" has the power of a Stephen Sondheim composition, the singer telling us how music helps one to conquer fears, sorrow and the pain life can bring. Later in the program (the penultimate track), she sings "You say to the dark/ you are tired of these things you've had to bear/ and now you want to go/ where no one's ever lost", you hear how her life has been affected by her illness but you don't hear pity or remorse, no sadness. The deep tones of the cello over the moaning guitar chords have more of a "country" feel than blues while the chorus of voices rising above the rhythm section has gospel overtones.
With "Beauty Indestructible", Ashley Daneman has created a profound work of art that is so alive, so positive, and so blessedly musical. Go to www.ashleydaneman.com and see what else she is doing with this music, asking for stories of inspiration to help people who may have lost hope. In a world which often seems to be growing harsher by the day, Ms. Daneman, through her music and her project, shows us there can also be brightness and optimism. Also, several of these songs can easily get stuck in the soundtrack of one's day and that is very good.
Enjoy "This is Somebody Else's Piano" and check out Ms. Daneman's Bandcamp page:
By the time pianist William "Red" Garland made the trip to San Francisco's Keystone Korner for the week of gigs with bassist Leroy Vinegar and drummer "Philly" Joe Jones in December of 1977, he was 2 decades removed from his fine work with Miles Davis and 12 years into a semi-retirement. Garland had returned to his native Dallas.Texas, in 1965 to care for his ailing mother, rarely leaving the state to tour or even perform. He has recorded sporadically and would again over the next few years after this week of gigs. He passed away in April of 1984, 3 weeks shy of his 61st birthday.
"Swingin' on the Korner" (Elemental Records) is a wonderful addition to Red Garland's discography. This 2-CD set, the only time this trio of musicians ever played together (Jones and Garland, along with bassist Paul Chambers, were the rhythm section for Davis from 1955-58), should serve to introduce Garland to a new audience while reminding long-time listeners what a classy and talented pianist he was. Both discs are filled with strong ballads and several swinging surprises (I love the shuffle rhythms of Monk's "Straight No Chaser", emphasizing both the blues and swing inherent in the piece.) Given the time of year when the recording was made, there is a lovely reading of Mel Torme's "The Christmas Song", so sweet and low (Jones's work is quite subtle here). The playfulness of "Autumn Leaves" (an uptempo reading with an irresistible walking bass line), the skipping rhythms of "On A Clear Day" (Jones take a long, ebullient, solo as befits his personality), the bounce of "Bag's Groove" (Garland really digs into his solo, delightfully interacting with the rhythm section), and the melodic sweep of "It's Impossible" makes for such enjoyable listening. Garland is certainly energized by Vinnegar and Jones plus one can hear the audience enjoying every minute.
The music on this package is culled from the "board" tapes of the week saved by Keystone Korner owner Todd Barkan (he ran the club from 1972-83 and is co-producer of this set). The sound quality is quite good (especially the sound of the drums) and the booklet features essays from the producers, from Nat Hentoff, pianist Benny Green, interviews with Don Schlitten, Ira Gitler and Kenny Washington plus a reprint of 1979 essay written by Doug Ramsey. Even with all that and the photographs throughout the booklet, it's the music that will bring you back time and again. Red Garland was a pianist whose musical choices ranged from Broadway to pop tunes to jazz standards and more. He loved melody, the blues and rarely if ever overplayed. The way he moves from two-handed readings of the melody to exciting single-note runs not only demonstrates that his "chops" were in fine shape but also that his musical mind was as facile as ever. Listening to these 16 tracks, it's also clear he enjoyed playing with Messrs. Vinnegar and Jones. "Philly" Joe, in particular, sounds like he's having a blast. If you like piano trio music, "Swinging' on the Korner" sounds fresh, lively and downright joyous. For more information, go to elemental-music.com.
Another fine year for vocal recordings, especially from the distaff side. My "official" Top 10 listed only Kavita Shah's "Visions" (certainly worthy) but here's a list of the others I enjoy and deserve to be considered "Best Of.." as well!
Melissa Stylianou - No Regrets - Anzic Records
(These 3 vocalists have banded together to create Duchess and their debut CD arrives in February 2015 on Anzic (of course!)
Kate McGarry/Keith Ganz - Genevieve and Ferdinand - Sunnyside Records
Nicky Schrire - To The Spring - (self-released) Elizabeth Shepherd - Signal - (self-released)
2015 looks to continue the trend of fine young vocalists with new releases by CT native Allegra Levy (her debut recording of all originals is produced by trumpeter John McNeil) plus a sparkling collection of originals from Ashley Daneman titled "Beauty Indestructible" (her melodies will stick in your head for days - trust me, I know.)
Brenda Earle Stokes, who hails from Sarnia Ontario, Canada, is a singer/songwriter/pianist who has just issued her 3rd CD. "Right About Now" (Magenta Label Group) comes 5 years after "Song For A New Day" and is produced by Matt Pierson. Her companions for the 12-song journey include bassist Matt Aronoff, drummer Jordan Perlson and guitarist Steve Cardenas plus the one person who has appeared on all her CDs, tenor saxophonist Joel Frahm.
What stands out on the first several times through the program is her emotionally rich voice - she "owns" these songs, (6 of which are her own compositions), inhabiting the lyrics, making the experiences deeply personal yet universal. One can not miss the wistful, hopeful, joy she discovers in Peter Townsend's "Let My Open The Door" (with a pleasing, muscular, solo from Frahm, releasing his inner King Curtis). Can't miss the sassiness she bring to Joe Jackson's "Got The Time" or the solid swing of the rhythm section, an excitement that elicits strong solos from Ms. Stokes and Cardenas She adds her poetic lyrics to Egberto Gismonti's "Agua E Vinho", a love song her words turn to "Water Into Wine". Cardenas's soft finger-picked acoustic guitar and Perlson's quiet percussion frame the vocal and Frahm's expressive tenor. Does Ms. Stokes ever have fun on "Baiao Em Minha Cabeca (Dance - or Rhythm - in my Head)", her wordless vocal leaping happily over the percussion, pushing the tenor to dance as well. Her voice glides and soars through "(Meant) For You"; based on a melody by saxophonist Dick Oatts, the words pay tribute to a life companion. Yet, there is a bluesy melancholy that suffuses the tenor lines.
You should also pay attention to her fine piano work how its supports her vocals, builds the songs, and fits into the mix. The rich chordal accompaniment on her original "The Letters on the Pages" suggests Carole King, supporting the stirring guitar solo. MS. Stokes moves to Fender Rhodes for a soulful reading of Ron Sexsmith's "Right About Now", with the solid drum work and Cardenas's blues-drenched guitar licks. Reminiscent of both early Bill Withers and Crowded House (particularly "Don't Dream It's Over"), her chords give the song even more depth. The program opens with soulful piano chords (a la Aretha on "...Natural Woman") leading into "It's High Time", a "call for" personal freedom and turning the focus back onto the self. Perlson's drums underscore the vocal, Frahm translate the words into a forceful statement, and the piano chords push the work forward.
Then, there is "She Sings". Yes, Ms. Stokes does just that but she also blends her wordless vocal with her piano, with Frahm's hardy tenor, and with the interactive rhythm section. It's the longest track (7:19) on the disk, speaking to how integrated the band is (honestly, this is a collaboration and not just a singer with a rhythm section plus soloist) - one can't help but hear the trust, support and respect the musicians have for the material and each other.
"Right About Now" is a journey, one well-worth taking. Brenda Earle Stokes does not paint pretty pictures but honest portraits of souls in motion as they take life one day at a time (the songs with wordless vocals display her "soul in motion"). The production of Matt Pierson puts both the voice and (usually) the piano in the middle of the spectrum while making sure the band can be clearly heard. No clutter, just sincere music and musicality. Lose yourself in this recording and you should find joy. For more information, go to brendaearle.com.
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