COVER -> POWERSSOUND
 |
"More Jazz Takes on Joni Mitchell" (Arkadia Records) is one of those productions that only gets better the longer you keep it on your turntable. Lahm surrounds himself with a number of outstanding musicians. There's room for solos herein, along with some amazing compositional work by Lahm. The album opens with a stunning arraignment of "Woodstock," featuring stellar work on the alto sax by Vincent Herring, with backup work in a dazzling manner by tenor man Roger Rosenberg.
Returning from the first album are drummer Ron Vincent and bassist Ratzo Harris. The results this time out show that the original album was no fluke. This is powerful material, arraigned with brilliance and played with confidence and verve. Selections include "Don Juans' Reckless Daughter" and "In France, They Kiss on Main Street."
Besides the Mitchell material, Lahm also performs three of his own numbers: "San Diego Holiday," "Walk This Way," and "Vibeca," a nice chart with a Brazilian beat. Lahm has plenty of experience as a vocal accompanist and spent some time on the road as the keyboardist with the vibrant Buddy Rich Band.
Clocking at 68 minutes, Lahm's album should prove of more than passing interest to Mitchell devotees and to anyone who likes wonderful jazz arraignments, played with power and energy by an accomplished sextet.
Benny Golson Forever
In a career spanning more than four decades, Benny Golson doesn't look back. The saxophonist just keeps on marching ahead, always eager to take the next turn, to see what lies beyond the mountains.Golson's new album is interesting in that it examines many kinds of moods. "One Day, Forever" (Arkadia Records) begins with the title song and keeps listeners guessing for each of the nine tracks. It's never less than interesting and often serves as a fine showcase for one of the greatest saxophonists ever to board a band bus.
The title song was inspired by the death of trumpeter Art Farmer's wife of many years. In the liner notes, Golson talks about that passing and how it sent him to fashion a song that is sung on this album by the exceptional Shirley Horn.
"Blue Walk" goes back to Golson's career as a composer. It's a simple tune, originally recorded by James Moody. The arraignment will keep heads nodding in rhythm for its length. "Killer Joe" has been a jazz favorite from the moment it was released on those memorable vinyl discs. The version here won't disappoint anyone.
The album includes a full orchestra on two tracks; the set includes Golson, Art Farmer on trumpet, Curtis Fuller on trombone, Geoff Keezer on piano, Dwayne Bruno on bass and Joe Farnsworth at the drum kit.
If you are in the mood for some quiet yet invigorating low-key jazz, "One Day, Forever" should be the perfect choice. The 63 minutes of solid material includes a fine version of "On Gossamer Wings," composed by Golson and played as a piano solo by Lara Downes.
None Better Than Gene
One of my favorite jazz pianists was the always-exciting Gene Harris. The man was phenomenal and died too early. You can get an idea of his distinctive style, which tended to overwhelm eager audiences, in the new release from Concord Records. "Live at Otter Crest" was recorded in 1981 in Otter Crest, Oregon and never released before.His cohorts that night were drummer Jimmie Smith and bassist John Heard. The album captures these musicians at the highest amount of professionalism. Harris played as if his life counted on it, yet with bountiful humor and humanism.
The recording quality is excellent, in contrast to some live performances that seem to capture the audience better than the musicians. The selection of tunes is slender, only six oldies, most of which have been recorded zillions of times. But Green had that special talent that made his versions special, a weird but captivating combination of jazz, blues and a sliver of rock.
The songs: "Sweet Lorraine" (made famous by Nat King Cole), "My Foolish Heart," Harris's "A Little Blues There," "Battle Hymn of the Republic" (never fear, it's a dandy,) "Shiny Stockings" and the Neal Hefti perennial "Cute."
Good News for Hombres
You may have read my review not long ago for Los Hombres Calientes' "Vol. 3: New Congo Square." The band's label, Basin Street Records, now reports that the album has become the #1 CD in the US, on the CMJ Jazz Radio Chart. It ranks #8 on the Billboard Jazz Sales Chart. Irvin Mayfield and cohorts are brilliant and will be making a summer tour. Watch your local paper for details. Be there or be square!Tracy Nelson Captures Attention
Tracy Nelson, one of those under-appreciated singers toiling for three decades, makes another stab at grabbing attention with her 20th album, "Ebony and Ivory" (Relentless Records). It's a production that shows off Miss Nelson's many attributes.
Luck plays such a role in the music business. Nelson hasn't been blessed with much. One would think that a lady with a voice that has enough force to tear the caps off of beer bottles wouldn't have to spend a long career admired by the critics and often ignored by the buying public. 'T'aint right, but lots of things fall into that category these days.
Here are a few quotes from the folks who get paid to write about other folks.
- The New York Times said Nelson has "one of the finest, purest voices in rock today."
- Rolling Stone wrote that she "proves that the human voice is the most expressive instrument in creation."
- Said fellow warbler Bonnie Raitt, "What can I say? She's fantastic. She's got those incredible pipes."
The album opens with a Will Jennings tune called "You Will Find Me There." It's powerful and could be interpreted as a love song or perhaps as a gospel number. Two songs by the team of Gary Nicholson and Becca Bramlet (Bonnie's daughter). Both are solid compositions and receive great renditions from the estimable Ms. Nelson.
Also worth spotlighting is Mose Allison's "How Much Truth." Allison never wrote a stinker, and this one registers as perhaps the best track on the album.
Hayseed Dixie Does AC/DC
Okay, the idea is clever. Hayseed Dixie, a band with a hard country slant, looks for an idea for an album. Someone says, "Why not cover the hits of AC/DC?"Most groups would have thrown that notion to the winds, then settled down for a "regular" country album. But the members of Hayseed Dixie did their version of the famed rock group's music, a record company gave them a contract and "A Hillbilly Tribute to AC/DC" (Western Beat Entertainment Records) now rests in CD racks nationwide.
Oh, what's that you asked? Is it any good?
Honestly, there's cleverness about the album that makes you smile for at least one or two of the covers. But as an entire album?
It sucks.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
It's not easy to classify the music of Delbert McClinton and his new album shows again that this singer could claim any genre he cared to. Discussion of this important musician will be included in the next edition of Powerssound. Join me for the fun!
