CD Music
Hiroe Sekine: "After the Rainfall"
February 2012
Upbeat Jazz from Hiroe Sekine
Sekai Music
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It often seems to be feast or famine when I'm looking for a music title to review. Lately it's been feast -- January was a bumper month for female jazz vocalist CDs of high quality. Tania Maria, Lorraine Feather, Joanna Weinberg, Catherine Russell, and Sara Gazarek all released dynamite discs of distinction. I chose Hiroe Sekine's After the Rainfall for this week's release because it's also a four-star offering, but it arrived with far less fanfare than the others and I feared it would be overlooked.
Sekine was born in Japan and studied at music schools there and in Fullerton, California (Fullerton College). After the Rainfall is her second album, a colorful, gossamer collection that caresses the ear in a beguiling, laid-back manner. Some might dismiss Sekine's music as "soft jazz" or "easy listening," but that would be selling it short. As pianist, singer, composer, and arranger, Sekine may lean toward the easily listenable hook or variation, but that doesn't mean there's no talent or inventiveness in her work. Subtle music is often more difficult to perform than something flashy.
The CD opens with Sekine's own composition, "Song of the Owl," which begins with a rhythmic figure on the piano. You'll be immediately struck by the instrument's rich, natural sound, and from that point on you'll have no doubt that this will be an album with above-average sonics. As shimmering struck cymbals, solid yet not overly aggressive bass, and warm and rich guitar join in, setting the stage for Bob Sheppard's saxophone solo and Sekine's wordless vocal, the set quickly develops into an audiophile's delight. Continuing the dreamlike mood, Sekine encores with the title song and then, with no temerity or imitation, launches into the Lennon-McCartney classic "In My Life," in which she duos with Arnold McCuller. It's a romantic rethinking of a timeless song that resonates with sincerity and beauty.
After a playful, good-natured romp with Chick Corea's "Windows," Sekine turns to "Aqui Ó" and then Jobim’s "Inútil Paisagem." In the latter two, Sekine calls to mind early Astrud Gilberto with her childlike, pure, and simple delivery augmented by Sheppard's flute, which darts in and out of the melodies, adding radiant filigree.
After two more of her own songs, Sekine closes the disc with Thelonious Monk's "Evidence," giving evidence that she can conjure serious jazz virtuosity when needed. Overall, this CD is upbeat if often gentle, and the recorded sound, produced by Russell Ferrante -- a producer and keyboardist for award-winning albums by the Yellowjackets -- is exemplary. It would be a shame if you missed it.
Be sure to listen to: The title song opens with piano, with guitar entering in such a way that it seems like an extension of the keyboard. Subtle percussion soon arrives, along with wordless soprano from Sekine. It's dreamlike in the best sense, with a crisply recorded guitar solo finally dispelling the mist.
. . . Rad Bennett
radb@soundstagenetwork.com
Jamie Ousley: "A Sea of Voices"
January 2012
Spiritual Jazz for an Environmental Mission
Tie Records TIE 1276
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Every once in a while, though not nearly often enough, I hear a disc that quietly asks me to stop the whirling gears in my brain and just sit still and listen. A Sea of Voices proved to be that kind of disc, one that went beyond mere music to become a spiritual experience. I wasn't surprised, then, to find out that Jamie Ousley has been playing many jazz concerts in churches, reviving a tradition of past years, and that his disc is produced not for profit but to raise funds for the Sunshine State Interfaith Power and Light organization, which has an environmental mission to "mobilize faith communities in Florida to care for creation."
Ousley has played double bass with such well known artists as George Shearing, Benny Golson, James Moody, Eddie Gomez, and Randy Brecker and is professor of jazz bass at Florida International University in Miami, touring nationally with his trio (Joe Davidian on piano and Austin McMahon on drums). For this special recording, he's added vocalist Nanami Morikawa, percussionist Carlomagno Araya, and pianist Gabriel Saientz to the mix. The group recorded A Sea of Voices mostly in Boston, with some sessions and mixing in Florida.
The most incredible spiritual track on this CD is "Shenandoah," one of my all-time favorite traditional songs. I must have heard dozens of versions, but I'll always go out of my way to hear another one. This take, which contains just Ousley's bass and Morikawa's voice, is simple yet profound in its intimate approach. The bass starts a gentle, undulating ostinato; then the voice enters with wordless comments. Morikawa gently sings the first two verses in a lovely pure soprano, and Ousley takes the melody for the third, playing in the high, often unused, register of the bass. They then combine in close harmony for the final verse.
The sound throughout the CD is very consistent, even though they recorded some of the pieces at different locations. There's also good balance among bass, piano, and drums. I felt that the sound needed just a touch more presence, but it certainly sounds agreeable and acceptable the way it is.
The overall theme of the album is water, which Ousley celebrates with several compelling numbers including "Hymn of the Tides," "Loving Beauty," and "Holy Water." Along the way you'll find pianist Davidian's arrangements of Irving Berlin's "How Deep Is the Ocean?" and Coldplay's "Swallowed in the Sea." Ousley probably has the right idea in playing churches, because while his subtle jazz would fit in a club, clinking glassware and background conversations would diminish its effect. It's not music for the car; it's music for a quiet listening room, and for the soul.
Be sure to listen to: You might have been led to believe, as I was, that "Rocky Top" is a bluegrass-country song (my favorite version thus far has been by the Nitty Gritty Dirt Band), but on track 5 Ousley and his fellow musicians might thoroughly convince you that the song has jazz roots.
. . . Rad Bennett
radb@soundstagenetwork.com
Bill Toms: "Memphis"
September 2011
Energetic Big-Band Blues
Terraplane Records 1001
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Television executives have discovered the value of airing new shows during the hot months, so we've seen a proliferation of first-rate shows with seasons starting in the summer instead of the fall. One such show is Memphis Beat. I record it with my DVR so I won't miss an episode, and though I watch it for the fine ensemble cast that includes Jason Lee, Sam Hennings, and Alfre Woodard, I tune in just as much for the music. Lee portrays a police officer who plays blues in Memphis bars and clubs at night, and every show closes with him doing a song (actually sung by Mark Arnell). There's also terrific source music along the way, with Keb' Mo' and A. Patrick Rose providing guidance and original music. Just a partial list of performers represented includes Elvis Presley (Memphis was home to Sun Records), Junior Wells, Waylon Jennings, Freddie King, The Allman Brothers Band, Wilson Pickett, Otis Redding, Blind Boys of Alabama, Mississippi John Hurt, and Johnny Cash.
The point is that music from Memphis may range across many particular styles, but those styles all have two things in common: commitment and energy. Look at that list, and you'll easily see those common elements.
That brings me to Bill Toms and Memphis. I was stoked for this album, which arrived around the same time as the last Memphis Beat episode, and I wasn't at all disappointed. Though he's Pittsburgh based, Tom's gravelly voice sings of rebellion, love, hurt, and the down and out just like he's lived in Memphis all his life. The styles might vary a bit, just as they do on Memphis Beat, but he has commitment in spades and enough energy to power a small city. The singer-songwriter sweeps into your life like a tornado; if he's singing, you'd better pay attention. But, heck, you won't mind doing that at all.
The opening "I Won't Go to Memphis No More" makes that surrender sweet. This is a big, bold blues tune in which Toms fronts a large Memphis-style band, complete with wailing sax (Phil Brontz) and Jerry Lee Lewis-style piano (Steve Binsberger). The song grabs you and won't let go, not that you'd want it to. "Misery" is slower but no less pungent, and Toms's broken and frayed voice fully conveys the message in "On the Road of Freedom." There's some good harmonica, too, from Will Kimbrough, who's also the album's producer. Throughout the album, Toms sings with constant conviction; if you aren't a believer by the third cut of this CD, you just aren't listening.
The recorded sound is big and bold, perhaps slightly at the expense of clarity and presence. Between Memphis Beat and Memphis, my ears get the impression of a music scene that I'd really like to hear in person. When I first played Memphis, I had to play it again right away. I dare you to stop at one listen.
Be sure to listen to: There are delightful riffs shot through this entire album, but the organ, sax, and guitar spots on "Waiting on the Pain" really got my attention.
. . . Rad Bennett
radb@soundstagenetwork.com
The SSJ All-Stars: "From California With Love"
September 2011
Jazz Artists Perform for Japanese Earthquake-Tsunami Relief
SSJ-USA 002
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Until this disc arrived two days ago, I was going to write about a Memphis blues album today, but From California With Love was so professionally accomplished and made such an impression that I need to tell you about it first. It's a compilation disc, which would normally brand it as uneven, both in performance and recorded sound, but that's not the case here. Each song is delivered with the utmost artistry, and each is recorded in intimate, detailed sound with a huge amount of warmth. There's a notable absence of heavy percussion and histrionics. Most of the songs are accompanied only by piano, with the addition of acoustic bass here and there. Some might call it "soft jazz," which certainly has its place when done so well.
Things get off to a splendid start as Sue Raney, with Alan Broadbent on piano, sings a medley of "Blue Skies" and "On a Clear Day." Raney has a voice that immediately conjures up feelings of warmth and sunlight. I really think this is the best version of "Blue Skies" I've ever heard. Raney sings "On a Clear Day" with equal expertise and feeling, but let’s face it -- the song belongs to Barbra. Pianist Broadbent encores with a sly and ingenious version of "Sweet and Lovely."
Getting back to vocals, Johnny Holiday offers an uptempo, radiant version of "Strike up the Band," which is followed by one of the most beautiful and moving tracks on the disc, Leslie Lewis's wistful version of "Skylark." Since that song is liable to make you glad to be alive, you'll find it appropriate that it precedes "Here's to Life," crooned to perfection by Kurt Reichenbach. Skipping a few that I'll let you discover for yourself, we come to Tierney Sutton and "Beautiful Love." Sutton has often seemed overly wrought and hard-sell to me, but here she applies just the right amount of drama to a lyrical and intense performance.
All the proceeds from this album go to Japanese earthquake and tsunami relief. The last two songs on the disc seem especially tailored to the cause -- Frankie Randall's "The Wave" precedes Rodgers and Hammerstein's "You’ll Never Walk Alone," sung with genuine emotion by Pinky Winters, with Jim Cox at the piano and Tom Warrington on bass.
The overall tone of this disc is romantic and lush, but the performers never cross the line into grandstanding. They just sing, as only they can, and that's more than enough. Treat yourself to this fireside, lamplight collection and help someone in need as well. That's a real win-win situation.
Be sure to listen to: Jim Cox, who so effectively accompanies Pinky Winters and Kurt Reichenbach, contributes a solo piano version of the Lennon-McCartney tune "We Can Work It Out." I'd never thought of this song without the vocals, but in Cox's jazzy arrangement it works just fine.
. . . Rad Bennett
radb@soundstagenetwork.com
Dale Ann Bradley: "Somewhere South of Crazy"
August 2011
Dale Ann Bradley Sings From and To the Heart
Compass 2-4564 2
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I first heard Dale Ann Bradley at a music festival in Bethlehem, Pennsylvania, when she performed with the New Coon Creek Girls. Bradley was a member of that skilled and vivacious all-female band for several years. On returning to West Virginia, I ordered all of the band's albums I could find as well as Bradley's solo efforts. What had impressed me so much showed up on all the CDs -- Bradley’s honest, no-gimmicks delivery of heartland lyrics. Couple that with one of the most beautiful, pure voices in bluegrass, or any genre for that matter, and you have one very special performer. I'm clearly not alone in this appraisal, as Bradley received the International Bluegrass Music Association award for Best Female Vocalist of the Year (2007-2009).
Bradley used to record for the Pinecastle label, and I'd lost track of her in the last decade. Recently, however, she popped up in an online mailing from Naxos, with a new album on the Compass label. I've now listened to it a half-dozen times and can gladly say that Bradley has mellowed in the best possible way, and time hasn't ravished her golden voice one bit. The only difference is that she now has more maturity and insight, the sort that just comes with living. Her manner is still direct and true, absent of any histrionics or distractions. She sings straight to and from the heart.
On Somewhere South of Crazy, set to be released August 30, 2011, Bradley sings 11 classics, including the title song, which she co-authored with country music legend Pam Tillis. There are a few surprises, like a version of the Seals and Crofts hit "Summer Breeze" that makes the song sound like it was always intended to be a bluegrass tune. More often, Bradley sticks with bluegrass songs like Sarah Pirkle's poignant "Come Home Good Boy" and the upbeat "In Despair," written by Joe Ahr and Juanita Pennington and made famous by Bill Monroe.
Alison Brown, co-founder of Compass Records and banjo player extraordinaire, produced Somewhere South of Crazy, and she kept the production simple to suit Bradley's style. Reading the fine print reveals that Brown spent three years with another Alison, Alison Krauss. Brown also contributes buoyant-yet-subtle banjo playing on most of the tracks. Other bluegrass artists that make appearances on Somewhere South of Crazy include Stuart Duncan, Steve Gulley, Andy Hall, and Sierra Hull. All of the instruments are recorded with detail and space, and all are in perfect balance with each other and with Bradley. The sound here is a successful case of less being more.
Be sure to listen to: At the beginning of the second track, "Round and Round," the interplay of Alison Brown's banjo, Sierra Hull's mandolin, and Steve Duncan's fiddle makes for a special, intimate sound.
. . . Rad Bennett
radb@soundstagenetwork.com
Duda Lucena Quartet: "Live"
July 2011
Gentle South American Rhythms and Intimate Vocals Prove Perfect for Summer
Self released
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Hearing Duda Lucena and his well meshed quartet is like eating at that restaurant we all go to when we want something reliable. We might not be moved to ask for the recipe, but we'll be completely satisfied. Lucena sings in such an intimate manner that it's almost like he's singing to each individual listener. There were no fireworks on the album, but I came away from it happy and content as can be. Essential to the relaxed, low-key mood of the music are its gently swaying samba and maracatu influences, with a sprinkling of bossa nova. The gentle sounds depend on subtle, solid delivery; vocal histrionics would ruin them. Another key factor in the warmth and coziness is the Portuguese language, which is seldom harsh or biting.
Lucena, born in Pernambuco, Brazil, seems to have the language and music in his blood. He's upfront as singer and guitarist, and his backing musicians, Quentin Baxter on drums, Kevin Hamilton on acoustic bass, and Gerald Gregory on piano, all play impeccably to complete Lucena's lead. Each of these supporting partners is given a solo riff somewhere during the disc's seven cuts, and each aces his opportunity to shine. The album contains one original by Lucena ("Sol") and a half-dozen songs by genre giants such as Antonio Carlos Jobim ("Corcovado"), Gilberto Gil ("Drào"), and Caetano Veloso ("Odara" and "Trilhos Urbanos").
All the songs were recorded live, but the audience is either very polite or cut out by a discrete sound design, as you can hear them only during the applause at the end of each number. The balance among the four players is perfect, and I never felt that anyone should be brought forward or softened. They're just right as they are.
This live album is a perfect summertime recording to soothe flaring tempers set loose by extreme heat. Lucena now makes his home in the Charleston area, where lucky South Carolinians (and tourists) get to hear him every Wednesday from 7 to 11 p.m. at the Charleston Grill at Charleston Place. He also plays other locations in the Charleston area and a few in Rio. In the meantime, everyone can sample Lucena's art through this self-released disc, which is for sale at Amazon.com.
Be sure to listen to: In the opening of the last cut, "Odara," Lucena's four low notes are almost breathed rather than sung, with perfect pitch and intimacy.
. . . Rad Bennett
radb@soundstagenetwork.com
Stevie Nicks: "In Your Dreams"
May 2011
Stevie Nicks Offers a Varied, Successful New Album
Reprise 5272472
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In Your Dreams, Stevie Nicks's first new solo album in a decade, is part memory, part mystical, and part contemporary, with the parts adding up to a very successful whole. The veteran queen of rock has been performing for over 40 years, yet her voice sounds just as it always has, with that immediately recognizable rasp adding character to every note. Nicks knows her voice, both its strengths and weaknesses, so she knows how to use it without making any missteps. Though she can often seem aloof and detached onstage, Nicks seems fully involved in every song on this CD.
The songs are varied, most featuring lyrics Nicks wrote, or as in the case of "Annabel Lee," lyrics she adapted. Nicks also wrote most of the music, with some tracks penned by the album's producer, Dave Stewart, who sings a duet with Nicks on the last cut, "Cheaper Than Free." I liked "New Orleans" best, in which Nicks sings of hope for a city all but destroyed by Hurricane Katrina while giving a nod to the types of outfits fans have come to expect of her: "I wanna dress up, I wanna wear beads, I wanna wear feathers and lace, I wanna brush by the vampires." Next for me would be the hollow and empty-sounding "Soldier's Angel," which makes a statement about war and alludes to Nicks's work in veteran's hospitals, where she has provided wounded military men with autographed MP3 players loaded with her favorite music. I also liked the conciliatory title song.
Scattered in and among these three are the supernatural and evocative "Annabel Lee," from Edgar Allen Poe, and "Moonlight (A Vampire's Dream)" inspired by the Twilight series of novels and films. In a world where music is mostly being downloaded a song at a time, the album has all but disappeared. This disc, however, has a carefully thought-out order and pacing that makes it a satisfying program as an album concept. The production is clean and clear for the most part, though once in a while, as in the title song, the sound becomes thick and overproduced. There's a long list of supporting musicians, which indicates recordings done over a period of time, but the smooth production makes it seem like they were all put together in the same afternoon.
Be sure to listen to: "Soldier's Angel," with its sparse scoring, is the best place to hear Nicks's voice. After a guitar intro, Nicks enters, and effective drumbeats carry you up to the chorus, when the backup singers join in for emphasis. It's what the folks over at Linn Records in Scotland like to call acid folk. A-plus acid folk, I'd add.
. . . Rad Bennett
radb@soundstagenetwork.com
Megan Slankard: "A Token of the Wreckage"
February 2011
Megan Slankard's First New Album in Three Years Is a Winner
Daily Acts 39216
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In the video for the title song, Megan Slankard walks past a group of bored slacker musicians sitting on the curb outside a bar. She goes in, finds a location, unpacks her instrument, and starts to play and sing. The musicians from outside find their way inside and provide her with instrumental backing. The footage up to this point is black and white, but it gradually changes to full color as she finishes and leaves the bar. I admit it sounds hokey when put into words, but the simplicity and sincerity of the whole event makes it tremendously effective and uplifting. Slankard’s music is like that, positive and honest to a fault. You won’t regret hearing it, and your life might even be a little better for the effort.
The young singer, still in her 20s, hails from San Francisco. She’s been compared to Rickie Lee Jones, Joni Mitchell, Ani DiFranco, and other female singer-songwriters, and her style embodies country, folk, acoustic, and folk rock, yet doesn’t seem derivative. Slankard’s music supports lyrics that are down-to-earth intelligent and often deliberately ambiguous, letting the listener participate in the creative process through interpretation.
A Token of the Wreckage has been three years in the writing and contains songs that are mostly about coming of age and entering adulthood. The title song speaks of the many pitfalls in growing older, but it suggests we can always find a bright spot along the way. "The Happy Birthday" and "The Pain of Growing Up" are most obviously about the passage into adulthood, but that theme also underlies most of the music. I was especially taken with a song called "Beautiful Makeshift," which indicates that even though two sides of a relationship might seem at odds, the overall picture can become an ideal and satisfying compromise.
David Bryson of Counting Crows mixed the album, and it's largely clean as a whistle without losing any warmth. He introduces meaningful distortion on a few of the bigger tunes. I don’t care for it much, even if it does have purpose, but only ten percent of the album wallows in that excess. The rest is as refreshing as a mountain brook during spring thaw.
I wondered what will happen to Megan Slankard as I thought of Lawrence Lebo, another great female talent I’ve written about recently. I thought about them both as I was watching many sub-standard performers during the dismal Grammy Awards. How is it that talent gets swallowed up in a maelstrom of mediocrity? I want to blame American Idol for setting low standards, but perhaps that isn’t the whole story. After all, the immensely talented and original Esmeralda Spaulding got recognition. You can’t buy A Token of the Wreckage until March 8, but you can watch the
Be sure to listen to: The acoustic guitar, bass, and drums make a beguiling background for Slankard’s vocal. It’s a lovely, complete, wouldn’t-want-to-change-a-thing-about-it sound.
. . . Rad Bennettradb@soundstagexperience.com
Take 6: "The Most Wonderful Time of the Year"
November 2010
Hearthside Holiday Music That’s Smooth as Silk
Heads Up HUCD3158
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The a cappella group Take 6 has wowed audiences around the world with its virtuoso vocal style, earning them ten Grammy Awards. This is their third holiday album, and except for “I Saw Three Ships” and “It Came Upon the Midnight Clear,” it’s composed of secular holiday chestnuts that conjure up images of snowfall as seen from a cozy cabin heated by a roaring fire. Things get off to a rousing start with “It’s the Most Wonderful Time of the Year,” which, like most of Take 6’s repertory, is mellow but has a lot of bounce and life.
A calypso-like version of “White Christmas” follows, and I must say that it’s refreshing to hear this new twist on an almost too-often-sung favorite. Up next is a humorous version of “You’re a Mean One, Mr. Grinch.” A bouncy take on Leroy Anderson’s “Sleigh Ride” follows, leading to a jazzy version of “I’ll Be Home for Christmas.” “Jingle Bells” receives a surprisingly languid and laid-back interpretation, which perhaps sheds new light on it. The final track finds guest pianist and singer Shelea Frazier joining the group for Vince Guaraldi’s “Christmas Time Is Here."
The sound is lush, smooth and homogenized. I would have liked a little bit more clarity and less overt mixing, but the somewhat breathy (bordering on overly reverberant) sonics actually fit the singing well. If you’re looking for a new “chestnuts roasting on an open fire” type of holiday set, you’ll like this one.
Be sure to listen to: Track 7 is a vocals-but-no-words version of “Dance of the Sugar Plum Fairy” from Tchaikovsky’s The Nutcracker. With its finger snapping and vocal scoops, it sounds like the singers might have had too much hot-buttered rum. I can’t decide if I like it or not, but it certainly got my full attention.
. . . Rad Bennett
radb@soundstagenetwork.com
"Christmas with The Washington Chorus"
November 2010
Vivid Voices and Blazing Brass Combine for a Thrilling Holiday Recording
Dorian Sono Luminus DSL-92117
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This is one of the most exciting big-chorus holiday recordings I’ve heard in a long time, and it’s not from the UK or Germany; it’s from this side of the pond. The performers are the Washington Chorus, the Whitman Choir, the National Capital Brass and Percussion, and organist John Bohl, all conducted by Julian Wachner, the director of the Washington Chorus. This is a downright thrilling disc, full of energy, drive, and astounding virtuosity. There are readers everywhere who find the sound of a large chorus with instrumental accompaniment the most exciting thing in music. They won’t be disappointed with this disc, and it might even create some new converts to the genre.
Most of the big carols are here -- “Angels We Have Heard on High,” “O Come All Ye Faithful,” "God Rest Ye Merry, Gentlemen,” “Joy to the World,” and “The First Nowell,” mixed in with lesser-known classics like “Un Flambeau,” “Sing We to the Merry Company,” and “Good King Wenceslas,” the latter in an electrifying arrangement with dizzying trumpet swirls that are played to perfection. The other carols are heard in stunning arrangements as well, most with brass, but some with chorus alone, or chorus and harp. I was very taken with Glenn Rudolph’s “The Dream Isaiah Saw,” which closes the concert and makes very effective use of the timpani. The recorded sound is resonant and spacious but not at the expense of detail. The sounds all ring true, from delicate harp accompaniment to full chorus, resounding brass, and thunderous organ. Pretty good for a live recording (yes, there is applause but not until the very end). If you’ve been waiting for a new choral album to add to your holiday collection, this is it!
Be sure to listen to: Handel’s “Hallelujah Chorus,” the concert’s encore piece. It’s often played in a stately tempo bordering on the funereal, but here it’s vivid and fleet, the brass playing the instrumental parts so well that you can easily forgive the lack of strings. It times out at 3:59 with applause. “Hallelujah” indeed! If you hear nothing else new this holiday season, hear this!
. . . Rad Bennett
radb@soundstagenetwork.com
