kenoshakid.bandcamp.com where there are a slew of live recordings featuring various lineups. Some of the more recent ones feature the material heard on "Inside Voices" often in lengthier versions. Besides the guitarist, the rhythm section features Robby Handley (bass) and Marlon Patton (drums) plus the "Horns From Hell" trio Nettles encountered at the Banff Centre for the Arts - Jacob Wick (trumpet), Peter Van Huffel (alto saxophone) and Greg Sinibaldi (tenor and baritone saxophones).
It's quite informative and engrossing to compare the various live versions of the songs heard on "Inside Voices" to hear how Dan Nettles shaped the arrangements and crafted the recorded versions. The album has great focus and sounds substantial; as a listener who likes electric guitar, I really enjoy Nettles' approach to this music, his role in the ensemble and his various 6-string sounds. Kenosha Kid - the name comes from Thomas Pynchon's 1973 novel "Gravity's Rainbow" - is certainly worth discovering. To find out more, go to www.kenoshakid.com.
Take a listen to "Liberty Bell":
here), an ode to perseverance that ends with the couplet "I am the master of my fate, I am the captain of my soul." The music, 10 originals and a bluesy rendition of "My Blue Heaven", features a different ensemble from the debut including Warren Wolf (vibraphone), New Haven CT-native Christian Sands (piano, Rhodes), Yotam Silberstein (guitar) and coproducer Alan Hampton (bass).
"Invictus" is a gentle celebration from beginning to end. The music does not roar; instead these songs have a gracefulness and dancing quality that is quite appealing plus the ballads are heartfelt and devoid of cliche. Reggie Quinerly and his talented cohorts celebrate a number of the enduring qualities of Black American music, including interplay, love of melody, swing, and telling cogent stories. Give this music a close listen - it's well worth it. For more information, go to www.reggiequinerly.com.
Here's the delightful tribute to the late Mr. Silver:
In the right hands, the trumpet can create quite a joyful noise. Louis Armstrong remains one of the most recognizable trumpeters in American music but, over the decades, there have been so many that left or continue to leave their mark, more than this is space here to mention. It's an instrument that lends itself to all styles and genres of classical and modern music
"Rondeau" leaps out on the strength of Takeishi's active percussion. The piano solo is a joyful romp over the rhythm section, with Bates' bass offering as much propulsion as the drums. Oddly enough (considering the title), "The Lost Bride" ("La Fiancée Perdue") also is one of the brighter songs. Again the rhythm section leads the way with the accordion offering a rhythmical counterpoint to the bass as well as the rippling guitar phrases. The blend of formality and animated rhythms make "To Fabricate Unknownness" quite an attractive piece. Again, the pianist offers a sparkling solo plus Takeishi gets a spotlight of his own. His playful spotlight actually takes the tune to its rapid-fire close.
Some listeners may listen to "Sacred Feast" and be reminded of Dave Douglas's "Charms of the Night Sky" quartet with accordionist Guy Klucevsek or John Hollenbeck's eclectic Claudia Quintet. Sonically, there are similarities yet Thomas Bergeron frees up the rhythm section (to be fair, the Douglas recordings with his group have no drummer), adds the fine vocals of Ms. Stevens (who shines brightly here), and this music goes in its own entertaining direction. The trumpeter's clear tones and intelligent arrangements stand out as does this excellent recording.
For more information, go to www.thomasbergeronmusic.com.
Give a listen to "Pourquoi?"