Jazz Trio’s Latest LP Is A Successful Addition To 2022’s New Jazz Albums Field

Posted on March 22, 2022 by philspicks

Jazz trio Larry Goldings, Peter Bernstein, and Bill Stewart is scheduled to release its new album, Perpetual Pendulum Friday through Smoke Sessions Records. Recorded in July 2021, the record’s recording session also come on the 30th anniversary of the release of the trio’s debut 1991 album, The Intimacy of the Blues. The new, forthcoming record is a presentation that most jazz fans will find engaging and entertaining thanks to its blend of originals and covers. One of the most notable of the covers featured in this record is that of George Gershwin’s ‘Prelude #2.’ It will be examined shortly. The trio’s updated take of Duke Ellington’s ‘Reflections In D’ is another notable cover featured as part of the album. It will be discussed a little later. The album’s title track is a standout among the album’s originals and will also be discussed later. Each track examined here is important in its own way to the whole of the album. When they are considered with the rest of the album’s covers and originals, the whole makes Perpetual Pendulum a successful addition to this year’s field of new jazz albums.

Perpetual Pendulum, the new album from the jazz trio of Larry Goldings, Peter Bernstein, and Bill Stewart, is a successful new offering from the group that most jazz fans will find appealing. Each song featured in this record does its own part to make that clear, both in terms of the originals and the covers. Among the most notable of the covers featured in this record is that of George Gershwin’s ‘Prelude #2.’ The trio’s take on Gershwin’s 1927 composition stays largely true to its source material in terms of the sound. Gershwin’s easygoing piano line is replaced here by the pairing of Goldings on organ and Bernstein on guitar. More specifically, Bernstein takes on the main melody while Goldstein offers a backing of sorts a la a bass line with his simple chords. Meanwhile, Stewart’s subtle cymbal flourishes and work on the toms joins with Goldings’ occasional solos to enhance the group’s cover even more. The group had already stepped up their take from Gershwin’s original by increasing the tempo of Gershwin’s work. The bluesy vibe is there just as in Gershwin’s original, but it has more energy than the more sauntering sense of Gershwin’s work. The balance of the trio’s honor to Gershwin and its own updated performance makes the song here so unique and well worth hearing. It is certain to impress any Gershwin fan as those of these musicians and jazz in general.

Another cover worth noting in this record’s body is that of ‘Reflections in D.’ Originally composed by Alvin Ailey, the song gained fame thanks to Duke Ellington. Fans of Ellington and his performance will wholly enjoy the trio’s performance here. That is because of how true the group stays to the source material. Bernstein takes over for Ellington here with his performance on guitar. The gentle, flowing guitar line creates such a happy, relaxed mood as Bernstein works his way through the song. Goldings’ work on the keyboard is just as subtle with its accent to the presentation. Meanwhile Stewart’s ever so light cymbal rolls add just the right touch to the whole. The group collectively takes its performance and gives the source material an update that so many jazz fans will enjoy.

In the way of the originals, one of the most unique of the trio’s originals is its title track, which comes late in the album’s run. Bernstein takes the lead again here with his Dave Stryker-esque performance on the guitar. The easy listening style presentation alongside the almost funky organ line and subtle kick from the drums makes this song its own unique presentation. There are even some moments here of what feels like some free jazz added to the mix. The overall modern jazz approach and sound shows the trio is just as creative in crafting its own works as taking on standards from days gone by. When the song is considered along with the two covers examined here and with the rest of the album’s entries, the whole makes Perpetual Pendulum an engaging blend of covers and originals that is a welcome addition to this year’s field of new jazz albums.

Perpetual Pendulum, the new album from the trio of Larry Goldings, Peter Bernstein, and Bill Stewart, is a successful new offering from the group. That is proven throughout the album in its covers and originals. All three of the songs examined here make that clear. When they are considered along with the rest of the album’s entries, the whole makes the record a presentation that most jazz fans will agree is well worth hearing.

Perpetual Pendulum is scheduled for release Friday through Smoke Sessions Records. More information on this and other titles from Smoke Sessions Records is available at:

Website: https://www.smokesessionsrecords.com

Facebook: https://www.facebook.com/SmokeSessionsRecords

Twitter: https://twitter.com/smokejazzclub

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Courtney Freed’s New Album Shows Throughout It Was Worth The Wait

Posted on March 3, 2022 by philspicks

More than a dozen years after the release of her then latest album, Happy Little Bluebird: The Music of Harold Arlen, singer Courtney Freed returned this week with her new album, Big Crazy Love. Released independently, Freed’s new album will appeal to a wide range of audiences through its blend of originals and covers. ‘Ancient History,’ one of the album’s early entries, is among the most notable of the record’s originals. It will be discussed shortly. ‘Lilac Wine,’ which comes late in the album’s 41-minute run time, is among the most notable of the album’s featured covers. It will be examined a little later. ‘There’s A Mornin’ Coming,’ which opens the album, is yet another of the album’s notable originals. It will also be examined later. When it is considered along with the other songs noted here and with the rest of the album’s entries, the whole makes the album overall a strong new offering from Freed.

Big Crazy Love, the latest album from jazz singer Courtney Freed, is an enjoyable new offering from the up-and-coming vocalist. Its blend of originals and covers makes that clear. Among the most notable of the originals is ‘Ancient History.’ The song stands out in part because of its musical arrangement. The arrangement is a wonderfully light composition that is driven by the work of guitarist Hamody Hindi. Hindi’s subtle picking lends itself to comparison to the work of Wes Montgomery. Meanwhile, Freed’s own vocals, with their delivery style and sound, lend themselves to comparison to Diana Krall. Kyle Owens’ gentle time keeping and Josh Gilbert’s equally subtle accents on the saxophone add even more to the arrangement’s enjoyment. The whole of the musicians’ work makes the arrangement reason in itself that the song stands out. The arrangement stands out even more when it pairs with the song’s lyrical content, which finds Freed singing about a relationship that is at that point where the couple has gotten too comfortable and forgotten the flame that once burned so bright.

Freed subject asks in the song’s lead verse, “Are we ancient history/Are we past our prime/Have we become the thing we always said we’d never be/Are we out of time/Have we crossed the line/Have we crossed the line…Have we orchestrated our demise/Are we out of time?” From there she continues, “Are we young/Are we old/Is our story all but told/Did we miss the boat and cannot float/Are we dust/Or are we gold?” Again, this is not a story of a relationship at it’s end, but at that crucial moment when a couple discusses whether the flame is still there. That Freed broached the topic in such a light, almost playful fashion here instead of the more serious tone she and her fellow musicians could have taken is a change of pace that plenty of listeners will find refreshing. That is considering the typical heaviness and seriousness of such a topic. The whole sort of throws back to the playful approach of George Gershwin’s timeless 1937 hit, ‘Let’s Call The Whole Thing Off.’ To that end, the whole of the song does plenty to show why it and the album deserve to be heard.

Another notable addition to Freed’s new album comes in the form of the cover song ‘Lilac Wine.’ Originally composed by James Shelton in 1950, it was made popular by Hope Foye in the short-lived musical, “Dance Me a Song.” Being unable to find the original through any online outlet, it is difficult to make a comparison between the original song and Freed’s rendition. What can be said of Freed’s take on the song is that her take is deeply emotional and does so well evoking the emotion of someone who is intentionally getting lost in the bottle after being dumped by a romantic interest. What feels like a two-movement song opens with a deeply emotional movement backed so powerfully by its string arrangement. The use of the cello alongside the piano and Freed’s vocals paints a rich picture of someone at a dimly lit bar, bottle in hand, head on the bar. As the song progresses into its “second movement” the sadness is still there, but the subject’s mood alters slightly, perhaps being lightened by the alcohol. Again, the instrumentation, paired with Freed’s vocals are to credit with making the song so engaging. All things considered here, this rendition is well worth hearing, especially when compared to the countless other takes on the song performed by so many of Freed’s more well-known counterparts (E.g. Nina Simone, Jeff Buckley, Eartha Kitt, etc.). It is just one more example of what the album has to offer.

Going back to Freed’s originals, ‘There’s a Mornin’ Coming,’ which opens the album, is another notable original here. This song’s arrangement is so much unlike everything else featured in Freed’s new album. Instead of the jazz leanings that are so present throughout the album, this song’s arrangement blends elements of soul and neo-folk for a completely unique composition. Listeners can even argue that there is a touch of gospel in the mix, too. Some might call it a stretch, but Freed’s vocals here are actually ever so slightly comparable to those of Joni Mitchell. That is evidenced through a close examination of the warmth in her sound and the richness therein, too. All things considered, the arrangement makes the song a great start to the album and an equally strong first impression to Freed for those who may be new to her and her work. The energy in the arrangement pairs with the song’s lyrical content to make for even more interest in this case.

The lyrical content featured in this song seems to deliver a message of hope and determination as Freed sings, “There’s a morning coming for you.” She notes at one point in the song, “Spare me the story of your sad, sheltered youth/Spare me the saga of your hidden truth…The song’s lyrics are difficult to decipher from here sans lyrics to reference. That aside, the message remains clear here. It delivers that message of hope, reminding listeners that things will get better and to look forward, not back. That message, along with the arrangement’s equally positive energy, makes the song in whole yet another example of how much Big Crazy Love has to offer audiences. When the engagement and entertainment ensured by this song, the others examined here and the rest of the album’s songs, the whole makes the album overall a welcome new addition to this year’s field of new jazz albums.

Courtney Freed’s new album, Big Crazy Love, is a strong new offering from the up-and-coming jazz singer. That is proven through its musical and lyrical content alike. All three of the songs examined here make that clear. When they are considered along with the rest of the album’s entries, the whole makes the album a positive new offering from Freed that will appeal to a wide range of audiences.

Big Crazy Love is available now. More information on the album is available along with all of Courtney Freed’s latest news at:

Website: https://courtneyfreedmusic.com

Facebook: https://www.facebook.com/courtneyfreedmusic

Weekes’ ”Round Midnight’ Compilation Re-Issue Mostly Succeeds

Posted on April 28, 2021 by philspicks

Jazz vocalist Amber Weekes is scheduled to re-issue her 2002 album ‘Round Midnight again Friday. Originally released in 2002 as a promotional presentation for clubs and festivals, the 12-song album was re-issued in 2007 through Sunset Records according to information provided through AllMusic. The compilation’s forthcoming re-issue is an intriguing presentation, especially among the year’s current field of re-issues. While the recording has added the word “Re-Imagined” to its title, the only new aspect here from its previous releases is its production, making for a bit of a concern. While this concern is unavoidable, the album is not a total failure. The songs that make up the compilation’s body and the way in which Weekes’ uses them makes for at least some interest. This will be discussed shortly. Weekes’ performance of said songs is also of note. It will also be examined later. Each item noted here is important in its own way to the whole of the record. All things considered, ‘Round Midnight Re-Imagined proves itself a presentation that will appeal to audiences who do not already own ‘Round Midnight.

Amber Weekes’ forthcoming re-issue of her album ‘Round Midnight is a presentation that will find appeal among a targeted audience base. Its appeal among those audiences comes primarily through the songs that make up the compilation’s body. According to information featured in the record’s liner notes, the songs are meant to help tell a “story” of sorts. The story in question is not some concept piece per se. Rather, it is that of life in the Sugar Hill region of Harlem centralized in Weekes’ Luncheonette, a real business that was owned and operated by Weekes’ grandparents. The notes, penned by San Francisco Chronicle writer Andrew Gilbert, point out that famed figures, such as actor Sidney Poitier, jazz pianist/composer Due Ellington, and saxophonist Sonny Rollins patronized the business. He notes in his writing that the songs (E.g. Johnny Mercer’s ‘One For My Baby,’ MarcosValle’s ‘Summer Samba,’ Cole Porter’s ‘Lovers’) are meant to tell the story passed down to her by her family. The songs are meant to set the mood while also telling the story of life in the Sugar Hill section of Harlem. The approach is not unique per se. However, that the songs are used to tell a story, requiring listeners to use their imagination so as to see the story in their own minds is a positive approach. Add in the fact that not all of the songs covered in this compilation are the run-of-the-mill standards, but rather some lesser-known songs (and lesser-known artists) and the songs prove even more important to the compilation. That and the manner in which the songs are used makes for even more appeal here. Keeping all of this in mind, the musical selections featured in ‘Round Midnight Re-Imagined are in themselves reason enough for the noted targeted audiences to hear this covers set.

There is no denying that the songs (and artists) featured in ‘Round Midnight Re-Imagined form a solid foundation for this re-issue. At the same time, they are the same songs and artists featured in the record’s initial 202 promotional release and its 2007 Sunset Records re-issue. The only “new” aspect of this latest presentation of ‘Round Midnight is the production, which also includes some newly added string arrangements here and there. That work paid off, too and should not be ignored. Where added, the string arrangements add an appealing touch to those works. The problem here is the use of the word “Re-Imagined.” The addition of the strings to some of the songs and the re-mastering are the only aspects that really make the record “re-imagined.” What’s more, the liner notes do not point out which of the songs feature the added strings. That means that audiences who are unfamiliar with the original works will not even know which songs to compare. There are no extra covers or even original works featured here. Keeping all of this in mind, the simple use of the term “re-imagined” proves somewhat misrepresentative. It creates in listeners’ minds, an expectation of something noticeably different from the compilation’s initial release and any other re-issues. In reality, what audiences get is a minimally “re-imagined” collection of covers at best. Luckily, the concerns raised through this marketing shortfall are not enough to doom the recording. It is just a matter that one cannot ignore and does detract from the compilation’s appeal. Now keeping this in mind, it is the compilation’s only negative. Weekes’ performances of the record’s featured songs works with the songs and how they are used to make the record’s presentation more appealing.

Weekes’ performances of the songs featured in ‘Round Midnight Re-Imagined makes for its own share of appeal for the compilation. Her performance of Richard Rodgers and Lorenz Hart’s ‘My Romance’ for instance is very much a different take from the original. The piano and sax featured in the original are replaced by a mix of late 80s/early 90s R&B what with the pairing of Weekes’ vocals and the keyboard, and a string arrangement. The whole at times makes the arrangement sound like it belongs in the soundtrack to Paramount Pictures’ 1961 classic Breakfast at Tiffany’s. Now some might try to argue that this plays into the “re-imagined” label, and maybe so, but again, it was also a re-imagining of the original in the compilation’s previous releases. So that negates that argument. That aside it is still an impressive performance, regardless.

Weeke’s performance of Sting’s ‘Sister Moon’ and George and Ira Gershwin’s ‘Summertime’ is another example of the importance of her performances here. In the case of these two songs, Weekes performances (and those of her fellow musicians) is a relatively close to the originals. Just as interesting is the closeness in sound and style between Sting’s work and that of George and Ira Gershwin. The two songs actually do sound like they belong together, so it makes sense that Weekes would join them in this presentation. When the performances of these two songs, that of ‘My Romance’ and those of the compilation’s other songs are all considered together, they collectively show a real devotion on the part of Weekes and company to pay tribute to the songs’ source material while also giving listeners something at least somewhat unique. That clear attempt to balance new and old ensures listeners’ engagement and entertainment in itself. The appeal that this insures along with that generated through the songs and the manner in which they are used here gives audiences plenty of reason to hear this unique covers collection.

Amber Weekes’ forthcoming re-issue of her covers compilation, ‘Round Midnight Re-Imagined is an intriguing addition to this year’s field of new re-issues and covers records. That is due in part to the songs featured in the record and how they are used. The songs are a mix of well- and lesser-known works as are the artists who crafted the works. Weekes uses the songs to tell a story that is original and real. It is not a concept story. That is unique in itself and makes for reason enough in itself to hear this record. While the songs and their use makes a strong foundation for its presentation, the fact that the changes between the original record and this latest re-issue detracts from the presentation. That is due to the mis-use of the word “re-imagined.” The only re-imagining between the original record and this re-issue is the addition of some string arrangements and re-mastering. Even more, one has to wonder if the “re-imagining” done here was also done in the album’s 2007 re-issue. That wonder detracts from the record’s appeal even more. Even with the concerns that are raised through the record’s marketing here, they are not enough to make the record a failure. The performances presented by Weekes and her fellow musicians work with the songs to make for even more appeal. That is because they show a valid (and successful) attempt to balance honoring each song’s source material with giving audiences something unique. Each item examined here is important in its own way to the whole of the compilation. All things considered, they make the record a presentation that will appeal primarily to fans of Weekes who do not already own the set in its previous iterations. ‘Round Midnight Re-Imagined is scheduled for release Friday through Amber Inn Records. More information on the compilation is available along with all of Weekes’ latest news at:

Website: https://amberweekes.com

Facebook: https://www.facebook.com/amberweekkes4jazz

Twitter: https://twitter.com/amberweekes4jaz

LTE’s Latest LP Is The Latest Contender For The Top Spot Among 2021’s Best New Rock Albums

Posted on March 29, 2021 by philspicks

More than two decades after the release of its then most recent album, prog rock super group Liquid Tension Experiment officially returned Friday. The band – Mike Portnoy (drums), Jordan Rudess (keyboards), John Petrucci (guitar) Tony Levin (bass) – released its new aptly titled album Liquid Tension Experiment 3 Friday through InsideOut Music. The eight-song instrumental album spawned three singles ahead of its release. Those songs are but a glimpse into the album, too. The 61-minute presentation offers hints of the band’s existing catalog and something in another direction throughout, too. ‘Beating The Odds is just one of the songs featured in the recording that shows a new creative direction from the band in its latest outing. It will be discussed shortly. The band’s updated take on famed composer George Gershwin’s ‘Rhapsody in Blue’ is another change in direction for the band in this outing. It will be discussed a little later. Showing even more, the change in direction in this record is ‘Chris and Kevin’s Amazing Odyssey,’ which comes just past the record’s midpoint. It will also be discussed later. Each note song proves the album’s growth, and in turn, engagement and entertainment. When they are considered along with songs, such as ‘Shades of Hope,’ ‘Hypersonic,’ ‘The Passage of Time,’ and the album’s two remaining songs, the whole makes the album in whole a work that is a welcome return for Liquid Tension Experiment and that is among the best of this year’s new rock albums.

Liquid Tension Experiment’s latest album, Liquid Tension Experiment 3, is a presentation that will appeal to the band’s established audience base. In the same note it will appeal to fans of the band’s members and their primary projects just as much. That is due in large part to the songs featured in this recording. The songs in question show evidence of songs from the band’s existing catalog as well as works that show some growth from the band. One of the most notable of the songs that exhibits that growth comes in the form of ‘Beating The Odds.’ The six-minute-plus composition is not the wildly energetic style composition that audiences have come to know from the band. Rather, it combines a variety of tones and influences, beginning with a very Rush style guitar intro to open the song. From there, listeners can hear distinct influence from Dream Theater’s early days prior to Portnoy’s departure from the band. At the same time, there is also a hint of Spock’s Beard influence through the combination of Rudess’ work on keyboards and Petrucci’s guitar performance. At times the influences remain separate, and at others join together for one unique whole. Through it all, the balance in the influences is handled expertly, a tribute to the record’s production. The end result of that controlled chaos is a work that brings out the best of the bands that have influenced this band’s members in one complete work that boasts its own standout identity as a prog-rock opus.

‘Beating The Odds’ is just one of the songs that serves to exhibit the growth from Liquid Tension Experiment in its latest album. The band’s updated take on George Gershwin’s timeless jazz classic, ‘Rhapsody in Blue’ is another clear example of the successful change in the band’s new album. It is a complete change of pace for the band, taking on a jazz classic instead of any rock composition. Gershwin’s original composition is present here. There is no denial of that fact. At the same, the song gets a nice change of pace in this rendition. Petrucci’s subtle guitar opening mimics the piano line that opens the original so well. The addition of the synthesized string arrangement at points throughout is a nice tribute to the original in its own right. It actually does well to sound like the real thing, even being synthesized. What’s more, the Joe Satriani-style approach that Petrucci takes along with his own style as the song progresses adds even more to the approach. Much the same can be said of Rudess’ keyboard performance throughout, and that of Portnoy. The whole of the group’s work here is such a rich presentation. It is a dramatic change of pace for the band this time out and such a successful risk. It is just one more example of what makes the album so successful. ‘Chris and Kevin’s Amazing Odyssey’ — which comes in the record’s second half — is yet another example of the album’s strength.

‘Chris and Kevin’s Amazing Odyssey’ is notable because it is so starkly unlike anything that these musicians have ever crafted collectively and with their primary acts. The whole thing starts off with Levin using what sounds like a bow on his bass, as if it was a standup bass. Portnoy’s accents on the toms sound random, but are in fact complimentary to Levin’s work. The subtle addition of the occasional keyboard effect makes for its own unique touch here. The whole experimental work immediately comes across as a distinctly avant-garde type composition, yet is still so engaging because of that experimental, free form type composition. It is another wonderful example of how much the band has branched out this time out and how that willingness to try something new has paid off. When it is considered with the other two songs examined here and the more familiar sound exhibited through other songs featured here, such as ‘Shades of Hope,’ ‘Hypersonic,’ ‘The Passage of Time,’ and the album’s two remaining songs, the whole of all of that content makes the album in whole a welcome return for Liquid Tension Experiment and an equally impressive new addition to this year’s list of top new rock records.

Liquid Tension Experiment’s first new album in more than two decades and first since the release of Spontaneous Combustion – released in 2007 (almost 15 years ago) by three quarters of LTE under the moniker of Liquid Tension Trio – is an impressive new offering from these musical mates. It proves that from start to finish with a solid combination of familiar content and plenty of material that takes chances and takes the band in new directions. Those newer songs are all examined here. When they are considered with the rest of the album’s works, the whole makes LTE 3 a work that every prog-rock fan will welcome. It is proof positive that good things really do come to those who wait. LTE 3 is available now. More information on the album is available along with all of the band’s latest news at https://www.facebook.com/ltexperiment.

Andy James’ New Covers Compilation Will Get At Least Some Love

Posted on January 31, 2021 by philspicks

Jazz singer Andy James has made a career of covering music from well-known artists who have come before her. Her debut 2018 record No Regrets and its 2019 follow-up Blue are collections composed primarily of covers of others’ works. Now in 2021, James has continued that trend with yet another collection of covers in her latest album Tu Amor — roughly translated, that title means Your Love. The 11-song compilation does not necessarily break any new ground for James, though is still somewhat entertaining. That is due in part to the songs that make up the body of this compilation. They will be discussed shortly. Staying on the topic of the featured songs, they lead to one detractor that listeners cannot ignore, the lack of information as to the songs’ information. Ironically, that negative actually leads to its own positive. That will all be discussed a little later. Everything noted here is important in its own way to the whole of Tu Amor. All things considered, the compilation proves itself a presentation that at least some listeners will love.

Andy James’ new compilation record Tu Amor is an intriguing record that will appeal to her most devoted audiences. That is proven in part through the songs that made up the record’s body. The songs in question are largely well-known standards from some equally well-known figures. James takes listeners as far back as 1930 with a take on George and Ira Gershwin’s timeless tune ‘But Not For Me’ and as recent as 1970 with a take on Henry Mancini’s ‘Loss of Love.’ Along the way, there are also covers of songs from the likes of Frank Sinatra (‘Night & Day’), Carlos Santa (‘Evil Ways’) and even Tony Hatch (‘Call Me’). The latter is slightly less well-known than the others noted here, but the song itself is still well-known. Simply put, James pulls from a relatively wide range of influences here. She pulls songs from some of the most gamed American composers and performers for this compilation and from some equally popular Latin/Hispanic names (E.g. Alberto Dominguez and his hit song ‘Perfidia.’ That James would pull from that range of composers and performers gives listeners reason itself to hear this record at least once. That the songs come from a relatively wide range of eras means the songs have different feelings in each work. Her Latin-tinged take on the famous songs (which is nothing new for her, considering she has taken the same approach on the aforementioned records) gives the songs their own unique take while staying at least somewhat true to their source material. Keeping all of this in mind the songs that feature in James’ new record are themselves a positive that her most devoted fans will appreciate. Staying on the topic of the songs, they lead to the compilation’s one and only negative, its lack of information about the songs’ backgrounds.

As noted already, James takes listeners on a musical trip back through time in this compilation. The artists and composers whose music she covers is relatively diverse, as is the style of songs. While this in itself does enough to make for at least some appeal, audiences will note that James does not make mention of the original composers and artists associated with each song. Whether this omission was the result of James herself or someone else, it means on one level that those responsible for the songs are not getting the credit they deserve. Yet at the same time, the musicians who performed the songs with James in each song get their due credit. To that end, one is left scratching one’s head why even that simple starting point is ignored here. This is important to note because those who might not be so familiar with the noted songs and their history might be misled to believe that this is in fact a collection of originals rather than a grouping of covers. That again is a disservice to the composers and artists who originally crafted the featured songs. It is a negative that one cannot ignore and detracts considerably from the record. Luckily it does not detract to the point that it makes the compilation a failure. That is because it leads to an unexpected positive. That positive is the fact that it leads the noted uninformed audiences to make their own journey in music history education.

The lack of a record of artists and composers in James’ new compilation is negative, yes, but at the same time it is positive. That is because, as noted, it leads audiences who might be less familiar with the histories of each song on their own journey of discovery and education. So actually in a way, there is a latent function to that lack of information here. In researching the songs and learning the identities of their composers and performers, audiences will perhaps gain a new appreciation for those figures and their works. On an even deeper level, discovering the identities of the noted figures and even the stylistic approaches to the source material of each song could also serve as a starting point for what could become an even bigger, deeper voyage into the great American genre that is jazz. Keeping that in mind, the one negative from which this record suffers is in some odd way, its own positive. When this is considered along with the wide range of songs covered here, the two elements together make the compilation a presentation that will find some of its own love.

Tu Amor is an intriguing new offering from jazz singer Andy James. Its intrigue is raised in part through its featured songs. The songs are compositions that pull from the “great American songbook” and from even rock and Latin worlds. They pay tribute to some well-known and lesser-known works while giving those songs welcome updates. The songs can and likely will lead to discoveries and appreciation of even more jazz in the process. That is because audiences are left to research the songs themselves due to the lack of information on the original artists and composers in the compilation’s liner information. That lack of information is the compilation’s only negative, because it does not give the noted figures their due credit. Again ironically, it leads to the noted positive, bringing everything full circle. Keeping everything noted here in mind, the compilation in whole will not ultimately prove to be a timeless compilation (especially considering that James has made a career of covering others’ works), but it will still find its own love. Tu Amor is available now. More information on the compilation is available along with all of Andy James’ latest news at:

Website: https://andyjames.com

Facebook: https://www.facebook.com/AndyJamesJazz

Twitter: https://twitter.com/andyjamesjazz

Archeophone Records Announces New Joseph C. Smith Anthology

Posted on July 19, 2016 by philspicks

Courtesy: Archeohone Records

Later this month Archeophone Records will release an invaluable new classic music anthology from famed band leader Joseph C. Smith.

Songs of the Night: Dance Recordings, 1916 – 1925 will be released Friday, July 29^th via Archeophone Records. The double-disc collection, forty-seven song anthology is the first ever collection of songs from the Joseph C. Smith Orchestra. It celebrates the centennial of his first recordings and features a thirty-two page, full-color booklet with rare photos and extensive essay. Along with celebrating Smith’s first recordings, the new set also celebrates many of his other firsts, too. He was the first to record songs by Cole Porter and George Gershwin and the first to feature vocal refrains on dance records such as ‘Smiles.’ That’s not all. Smith also had the first hits of songs such as ‘Hindustan,’ ‘Rose Room,’ ‘Alice Blue Gown,’ and ‘Three O’Clock In The Morning.’ As if that isn’t enough he was also the first band leader to spotlight instrumental solos on dance records. One of the most notable of those solos came in the form of the laughing trombone on ‘Yellow Dog Blues.’ As Ryan Barna notes in the collection’s liner notes, Smith was the forbear to the likes of The Paul Whiteman Orchestra, The Dorsey Brothers, and even Glen Miller. Speaking of instrumentals, Smith’s orchestra served as the starting point for so many great instrumentalists including: trombonist Harry Raderman, xylophonists Teddy Brown and George Hamilton Green, pianists Hugo Frey, Harry Akst, and William Berge, and saxophonist Rudy Wiedoeft. The full track listing for Songs of the Night: Dance Recordings, 1916 – 1925 is noted below.

CD and Digital Track List:

CD 1

Songs of the Night
Money Blues
I’ve a Shooting Box in Scotland
Havanola
Poor Butterfly
Allah’s Holiday
St. Elmo
Dance and Grow Thin
Missouri Waltz
Calicoco
When You Come Back
Smiles
Rose Room
Mary
Hindustan
Rockin’ the Boat
Head Over Heels
Mickey
Dear Old Pal of Mine
Somebody’s Sweetheart and Good Morning, Judge
Rainy Day Blues
Coo Coo
The Vamp

CD 2

Who Did It?
Peggy
Yellow Dog Blues
Happy
Lovely Summertime
That Naughty Waltz
Karavan
Ching-a-Ling’s Jazz Bazaar
Love Nest
Alice Blue Gown
Sally
I Lost My Heart to You
Why, Dear?
It’s You
Stealing
Three O’Clock in the Morning
While Miami Dreams
Rose of Stamboul
Where Is the Man of My Dreams
Sweetheart of Sigma Chi
Stella
It Ain’t Gonna Rain No Mo!
Driftwood
I Like You Best of All

More information on this and other titles from Archeophone Records is available online now at:

Website: http://www.archeophone.com

Facebook: http://www.facebook.com/archeophone

Twitter: http://twitter.com/archeophone

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Jarreau’s ’93 Montreux Show Another Hit For Eagle Rock, Montreux Sounds

Posted on April 13, 2016 by philspicks

Courtesy: Eagle Rock Entertainment/Montreux Sounds

This Friday, April 15^th, Eagle Rock Entertainment will release music legend Al Jarreau’s new live recording Live at Montreux 1993. While it was not his first time ever performing at the famed music festival, the upcoming CD release of the performance marks the first time that the concert has been released in any format. That is just one part of what makes this new CD recording a welcome addition to the music library of any of Jarreau’s fans. The concert’s set list is just as important to note in the recording’s presentation. That will be discussed later. It is a rather interesting element to note, too. Last but hardly least important to note of the recording is Jarreau’s stage presence and that of his fellow musicians. Even with the performance being presented only on CD (so far) the group’s stage presence translates relatively well. That translation, when set alongside the concert’s set list and its presentation, rounds out the recording’s presentation. It joins with them to make Al Jarreau: Live at Montreux 1993 a welcome first offering for this concert. One can only hope, of course, that from its success a DVD and/or Blu-ray presentation of the concert will follow sooner rather than later. Regardless of whether or not that happens, it can still be said of this single-disc presentation that it is, again, a welcome addition to any Al Jarreau fan’s music library.

Al Jarreau’s new live recording Live at Montreux 1993 is a welcome addition to any of his fans’ personal music libraries. The main reason for this is that while the concert contained herein was hardly his first-ever performance at the famed music festival, it is the first time that this particular concert has been presented on any platform (E.g. DVD, Blu-ray, vinyl, etc.) That means it’s the first time that this particular performance has been available for audiences to enjoy for themselves. It is interesting that the concert wasn’t also released on any visual or other audio platforms. That is because that it is not the usual course of action for Eagle Rock Entertainment. Generally Eagle Rock releases its live recordings across every possible platform unless said recordings have already been released on other platforms. This recording isn’t one of those cases, though. Again it is the first time that the recording has been released on any medium. Nonetheless, having it released on only one platform in its initial release is actually a good thing in its own right. That is because in doing so none of Jarreau’s fans will feel left out in any sense of the word. Everybody will be on the same playing field so to speak. To that extent having it released on just the one platform—at least for now—is in fact quite important to its presentation even as minor as it might seem to some. It’s not the only important element of the recording’s presentation, either. The set list featured in this recording is just as important as the concert’s overall presentation on CD.

The presentation of Al Jarreau’s 1993 performance at the Montreux Jazz Festival solely on CD is in itself a hugely important part of the recording’s presentation. On the surface it might not seem all that important. But the reality of the situation is that it is in fact more important than most audiences will realize. It’s just one of the recording’s most important elements. The songs that made up the show’s set list are just as important to it as its general presentation. The reason for this is that the songs in question largely came from one specific album, Tenderness. The album in question was originally released on December 6^th, 1994. That was roughly a year and a half after this performance. Even his 1992 album Heaven and Earth, which was released much closer to this performance, isn’t represented here. Keeping this in mind one can’t help but wonder why exactly it took so long for Tenderness to be released following this performance. Regardless the concert’s eleven song set is a near full representation of Tenderness. Keeping that in mind the wait might have been rather long. But at least for those in attendance experiencing the songs was like just like hearing Tenderness well ahead of its release. And even for audiences today the same applies. It is virtually the same as having Tenderness in their libraries just in live form. This makes the concert’s set list all the more important in this recording. Even with the concert’s CD presentation in mind both that and the show’s set list are not the only important elements to consider in examining this recording. Jarreau’s stage presence and that of his fellow musicians is just as important to note.

Both the CD presentation of All Jarreau’s 1993 Montreux performance and the concert’s set list are important in their own right to the overall presentation of this recording. They are hardly the recording’s only important elements. Jarreau’s stage presence throughout, and that of his fellow musicians is just as important to note as the aforementioned elements. Listening through the concert Jarreau and company come across as being entirely organic in their performance. That is especially evident as the group makes its way through its rendition of ‘Summmertime.’ For those that might not be familiar with the tune, the original composition, penned by George and Ira Gershwin, boasted a much slower, bluesy vibe. This take on the classic tune however, is the polar opposite of that work. It is upbeat and free-flowing. One could go so far here as to say it felt entirely natural and organic in its presentation. In the same vein, ‘She’s Leaving Home’ shows in its own way the power of the group’s stage presence. The song’s title is self-explanatory. Yet even with the song’s title its energy in its performance here is not what one would expect. Rather it’s one of those performances that even in such a massive venue, still manages to conjure thoughts of a smoky, dimly lit jazz club. Jarreau and company are so laid back throughout the song that one wouldn’t even begin to think of the song as a piece about a woman leaving a man. That shows the power of the group’s performance just as well as its take on ‘Summertime.’ On a completely different note (no pun intended) the power in the band’s performance of ‘Alonzo’ is yet another example of the importance of the band’s stage presence in this concert. Unlike many of the set’s other featured songs it boasts more of the group’s R&B side than its jazz side. It does so quite well, too. The natural progression of the song’s energy over the course of its nearly six minute run time is itself an important part of the song. The manner in which the group progressed through those changes is just as important. That is because it once again shows the importance of the group’s stage presence here. The group’s performance never once feels forced as it gradually builds the song’s energy in its opening minutes and then calms it just as gradually over the course of the song’s final moments. Again, it all feels entirely organic. Because it feels so natural it is just as apt to keep audiences engaged as any of the recording’s other offerings. All things considered the group’s stage presence throughout the course of the concert’s seventy-one minutes proves in the end to be just as important to the concert as its set list and its general presentation on CD. When it is set against those elements, all three elements combine to show once and for all why Live at Montreux 1993 is a welcome addition to any Al Jarreau fan’s personal music library.

Al Jarreau’s new live recording Live at Montreux 1993 is a welcome addition to the personal music library of any of Jarreau’s fans. That is thanks in part to its singular presentation. Whereas so many of Eagle Rock’s live recordings are released on multiple outlets, this fist time release of Jarreau’s ’93 Montreux show has been released only on CD. Being available exclusively on CD means that none of Jarreau’s fans will feel left out if they purchase or order the recording. The concert’s set list is just as important to the concert’s presentation. That is because of the closeness of the concert (or lack thereof) to the release of his 1994 album Tenderness. The set list presented in this concert almost entirely represents that album. And being that the album wasn’t officially released until roughly a year and a half after this concert it makes the set list all the more important. For those that don’t already own Tenderness even today it is just as important because that set list more than fills said void. The group’s stage presence throughout the course of the concert’s hour-plus run time plays its own important part in the concert’s recording. That is because of just how organic the group’s performance felt from beginning to end. That organic vibe makes the show’s songs all the more enjoyable for audiences and in turn assures even more listeners’ maintained engagement. Each element is important in its own right to this recording. One could even note the recording’s companion booklet which is its own bonus as an important element. All things considered Live at Montreux 1993 shows in the ed to be a recording that any of Al Jarreau’s fans will want to add to their personal music libraries. It will be available in stores and online this Friday, April 15^th. More on this and other titles from Eagle Rock Entertainment is available online now at:

Website: http://www.eagle-rock.com

Facebook: http://www.facebook.com/EagleRockEnt

Twitter: http://twitter.com/EagleRockNews

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

PBS’ Broadway History Documentary Hits All The Right Notes

Posted on January 6, 2013 by philspicks

Courtesy: PBS

PBS has shown time and again that it is the last bastion of true kid friendly programming on television. It has also shown just as many times why it is the last true bastion of worthwhile family friendly programming with series such as Nova, Great Performances, and Nature. Now, the network has shown yet again why it is one of the best networks out there with its six-episode miniseries, Broadway: The American Musical.

Broadway: The American Musical is just one more feather in the cap of what is not just a great television network, but a virtual American institution in itself. This six part documentary series takes audiences on a journey through time. It takes them from Broadway’s roots in the famed Ziegfeld Follies up to modern day Broadway. Host Julie Andrews was an excellent choice to lead audiences on this musical journey through not just Broadway’s history, but also America’s history. Being a seasoned veteran of both screen and stage, Andrews makes the entire presentation worth experiencing. The inclusion of interviews with other professionals from around the entertainment world (E.g. Mel Brooks, Carol Channing, Tim Robbins, etc.) makes the story even more interesting. There’s even discussion on some of the greatest names in Broadway’s history, including: the famed Gershwin brothers, George and Ira, Cole Porter, and of course Rogers and Hart just to name a few. The stories shared around these figures illustrate not only their careers, but the influence of their works on America through each one’s career. They also serve to illustrate just how important each one was and still is today to both the entertainment world and the world in general.

One of the most interesting of the stories in the special comes in its third episode. The song, ‘Buddy Can You Spare a dime’ is discussed early on in this segment. It’s noted that the song was a response to what was going on in the Great Depression. And if it hadn’t been included in a Broadway play, the powers that be might have kept this extremely important song from every having become known to anyone. It shows the power of the unseen men in suits even back then. And that it resonated so much with American audiences today shows its continued musical and cultural importance, especially in this nation’s current economic and political state. From this point, the program expands on this topic, explaining how musical theater increasingly became the voice of Americans as they weren’t able to voice their own opinions openly. In simple terms, it shows how musical theater really became the voice of the voiceless, so to speak.

The story behind ‘Buddy Can You Spare a Dime’ is just one of so many at which audiences will amaze. Equally interesting are the stories of how Disney helped to bring Broadway into a new age and of a working class man’s rise to fame with his original play, “Rent”, his untimely death, and the reaction to his play and passing. That moment alone will leave any viewer feeling at least somewhat emotional. It makes for one of the documentary’s more memorable moments. Just as memorable as that moment are the extra performances included in the triple-disc set as bonus features. Each disc includes bonus performances of acts from each highlighted era. They are more than just bonus footage. They serve to help illustrate the type of performances being held during each era. And the very fact that the oldest of footage has stood the test of time so well is just as impressive as the stories included throughout the program’s length.

The stories and the footage together make for quite the viewing experience for any Broadway lover. There is at least one more factor that makes this set the complete item for fans of the theater. That factor is the set’s packaging. PBS has hit the mark on the head with the set’s packaging. All three discs included in the set are placed on their own spot inside the set’s box. The first two discs are placed back to back on opposite sides of an insert, while the third disc is placed on the backside of the box. Placing the discs in this fashion protects all three and thus increases their longevity. Looking at the set from this vantage point to that of the presentation itself, PBS has assembled a documentary that is fitting both for students of the theater arts and of any lover of the theater. It’s available now. It can be ordered online direct via PBS’ online store, at http://www.shoppbs.org.

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