The Big Ol’ Nasty Getdown: “Repurpose Purpose Vol. 1” (2024) Vinyl Review

For folks like me who love jams, who love improvised music, who love it when musicians take off from whatever script might have existed in order to further explore a rhythm or a riff or an idea, who go to concerts in large part for those moments of magic, The Big Ol’ Nasty Getdown is here to delight us with some delicious grooves. The idea for this band was to capture those great live moments in the studio, with accomplished musicians from various backgrounds. The band’s first album, aptly titled Volume 1, was released in 2012 (although some websites list the year as 2011 or 2015). By the way, that album kicks off with a song titled “The Big Ol’ Nasty Getdown,” putting this band in that group of artists who have a song sharing the band’s name, along with folks like Bad Company, Black Sabbath, I See Hawks In L.A., They Might Be Giants and Trees Speak. Volume 2 was released several years later, and there have also been a couple of singles and EPs.

The band’s new release is an EP titled Repurpose Purpose Vol. 1, written as RepurposE Purpose Vol. 1, so that EP is in the title. But there are approximately thirty-one minutes of music on this record, and that, my friends, is enough to make it an LP. One thing that’s interesting about the music on this record is that each track features the same drum work, each track building on it in a different way, with different musicians. The drummer, by the way, is Jack Irons. Yes, of Red Hot Chili Peppers, Pearl Jam and The Wallflowers, the same guy who released Dreamer’s Ball/Walnut last year. So his work is on every track. As for the rest of the folks, an incredible group of musicians has been gathered for this project, people like Leo Nocentelli, Bobby Easton, Matt Slocum, Eric McFadden and Larry LaLonde, among others. And for those who find the names familiar, but can’t quite place them, the liner notes are kind enough to include little reminders for us. The record itself is a clear sky blue vinyl with purple splatter, and it looks great.

Side A

The album opens with “All Together Now,” a glorious funk jam complete with a horn section, just the sort of thing to loosen you up, get you grooving, get you smiling. I’m especially digging that bass line by John Heintz. And check out that lead on guitar. Leo Nocentelli (of the Meters) plays guitar on this track. The horn section, by the way, is made up of Greg Hollowell on saxophone, Derrick Johnson on trombone, and Alex Bradley on trumpet. This track also features some cool stuff on keys. Frank Mapstone is on electric piano, and Rami Jaffee is on organ and clavinet. I like those smooth, slightly more laid-back moments placed at key points in the track, like the sun’s rays are warming us, and telling us, “Things are good.” This is the first track recorded for this album, so the drumming on this record originated with this instrumental track. If you needed another reason to love this track, Leon Mobley (of Innocent Criminals) contributes additional percussion work here.

RonKat Spearman (of P-Funk) joins the group on vocals for “Body Magic,” a fun number that has elements of funk and disco. So yes, something you want to dance to. “Baby, you got that stuff I like/You got that stuff I need.” Play this track, and your home will suddenly become the coolest dance club. The horn work here is done by Nic Chaffee. Bobby Easton (of Delta Nove) is on guitar, and Cody Wright is on bass. Matt Slocum (of Railroad Earth) is on keys, delivering some delicious work. “Give it to me, give it to me.” Well, these guys are giving it to us, no question, whatever it is we need. Then “420 Ocean Drive” comes on all heavy and strong, a powerful force, a steamroller of funk ready to smooth out any prickly cretins who dare stand in its path. And we can all ride atop this machine, so hop on board. Eric McFadden is on guitar, and the guitar is an important part of this track’s power. Philip Lassiter (who has worked with Prince, Ariana Grande and many other artists) is responsible for the horns on this one. Listen to the way those horns cut through to the heart of things, horns that will stand for no nonsense. This one builds into a tremendous beast, with a great energy. Chris Sherman (Freekbass) is on bass, and Jamar Woods is on keys. Again, this record features an outstanding group of musicians.

Side B

The second side opens with “Spirit Stain,” with Angelo Moore (of Fishbone) on vocals, and he gives us a seriously cool and commanding performance. The vocals are also part of the rhythm, the way the lyrics are delivered. “Remove yourself and take a step in the other direction.” Put this record on and have the best party, even if you’re alone. You’ll be dancing with such abandon that you might not even realize that no one else is there. Just give yourself over to that heavy, great bass line. That’s Roberto “Ra” Diaz (of Suicidal Tendencies and Korn) on bass. Justin Poree (of Ozomatli) joins on percussion, and this fantastic track also features the work of Jimi Hazel on guitar, and Peter “Keys” Pisarczyk on keys. The music takes us in another direction on “Ten Hits.” Larry LaLonde (of Primus) plays guitar on this one, and there is certainly something of a Primus vibe here, just one of the many tasty elements that make this track so enjoyable. This is a jam that seems to come from some intergalactic junk yard, with species from several planets playing whatever it is they find there, and getting the corpses of old massive mechanical marvels to rise up and dance. Oh yes, there’s life in it yet! John Norwood Fisher (founding member of Fishbone) plays bass, Mike Dillon (who has played with Les Claypool and Karl Denson, among others) is on vibraphone and tabla, and Bobby Easton (of Delta Nove) adds some work on percussion.

Then we get an instrumental rendition of “Body Magic.” So in this version we focus more on the horns, let them drive us forward, onward, upward. We climb Mount Funk, stopping at the different dance stations set up along the way. And the top? Well, that’s some kind of dance paradise. We’ll get there. This music has the power to lift us, at least a good deal of the way. I’m loving that work on keys. The album wraps up with an instrumental rendition of “Spirit Stain,” and now the beat commands us, takes control of our bodies, gets us moving. There might be moments when the music tosses us against walls, but don’t worry, for we bounce right back, not missing a downbeat. This track is capable of rocking us straight into next week.

Record Track List

Side A

1. All Together Now
2. Body Magic
3. 420 Ocean Drive

Side B

1. Spirit Stain
2. Ten Hits
3. Body Magic (Instrumental)
4. Spirit Stain (Instrumental)

Repurpose Purpose Vol. 1 was released digitally on September 6, 2024, and on vinyl on December 11, 2024. Now I’m wondering if Vol. 2 will continue with this drum work, or if it will feature a different beat. Either way, I’m looking forward to it.

Tryptique: “Tryptique” (2024) CD Review

Tryptique is the trio of Fern Lindzon on piano, Colleen Allen on flute and saxophone, and George Koller on bass. The three, based in the Toronto area, have known each other a long while, but it was the pandemic that brought about this particular project, the three finding they had the time to play together weekly, and in doing so were able to build up a repertoire. They find inspiration in a wide range of musical realms and create what one of the band members has referred to as “chamber jazz.” The group’s self-titled album contains a mix of covers and original material.

The album’s opening track, “Wondering,” begins with some beautiful work on piano, with a sort of magical or fanciful feel to it, like opening the door to another land. And soon we are inside. And while there is a beauty, there are hints of sadness too, and it all feels so much bigger than us. It is music that we can immerse ourselves in. This track was written by fellow Toronto musician Doug Wilde, who included it on his Rhymes With Reason album, released in 2017. It is followed by an original number, “Canarios,” which was written by Fern Lindzon. This has a light, cheerful, rather playful vibe, Colleen Allen’s work on flute providing a large part of that feeling. There is the carefree sense of childhood here, especially in that first section, as we feel like skipping across the landscape. This track had me smiling before long at all. It then goes into some more interesting territory, particularly in the work on piano. There is still a sense of play, but now perhaps there is more weight to it. The track does return to that more cheerful theme again before the end.

There is a more somber mood then established at the beginning of “Retrato Em Branco E Preto,” a piece written by Antonio Carlos Jobim and Chico Buarque. That feeling is heard particularly in that beautiful piano work, like a memory that haunts us. Colleen Allen, back on saxophone for this one, adds to that sense of melancholy. There is a sense of great loss in her playing, but also a resilience, as if she is fighting sadness by expressing it. In the second half there is a wonderful lead on bass that seems to promise us some relief. And by the end, we get the sense that we are able to climb atop the despair, not let it get the better of us. This is a beautiful and touching piece, and is one of my personal favorite tracks. The group then turns to the jazz standard “Satin Doll,” written by Duke Ellington and Billy Strayhorn, here with an arrangement by Fern Lindzon. It begins with that slower, somewhat mellow section, and then the bass leads them into a more swinging section, but only for a moment, before returning to the slower section. What I especially love is that next part, when the piano gets dirty and mean, the bass dripping cool. Oh yes, at this point everything feels right with the world. The piano then begins to race forward. It’s interesting how often and quickly this rendition changes, and that’s part of what keeps us interested, keeps us intrigued. Even if we’re familiar with the tune, we’re still not quite sure where it might take us next, and these musicians provide an enjoyable ride, sometimes swinging, sometimes introspective. And George Koller has another opportunity to lead on bass.

“Eucalyptus” begins with some pretty work on piano. There is something warm about this one, something friendly and welcoming, like a meeting with a silent agreement to not discuss the troubles that both know exist. It was written by Steven Mackinnon, Colleen’s husband, as a gift to her. And Colleen’s work especially carries that warmth. This is just the kind of music we will likely be turning to as our country descends into fascist madness in the coming year. It is so strange to know it’s coming, but unable to stop it. I’ve made the decision to focus on music and avoid all news (that decision has carried me through the last seven weeks already). We can wrap ourselves in this music, a warm shield against the harsher winds, and remember that love will pull us through. Then “Compassion Blues” is a piece composed by George Koller, who included it on his 1994 album Music For Plants, Animals, And Humans. That original recording found him providing vocal work as well as work on bass (that vocal work having an oddly spiritual quality). This new rendition begins with some great solo bass work, though no vocal work. Approximately a minute in, Fern and Colleen join him, giving this rendition quite a different sound from the earlier recording. And I personally hear more of that compassion of the song’s title in this rendition. There is also a strong beauty to this piece, especially in Colleen Allen’s work on saxophone. And I love that work on bass just before the end.

There is something uplifting in “Themes,” which I appreciate. This is music that tells us that things will be all right. Somehow they will be, right?  Then the piece takes a sudden turn, taking on a stronger rhythm, a more insistent tone. There is a joy to the work on saxophone, as we move to the rhythm of the piano and bass. It isn’t long before things change again. I like the playful element to this track, the movement and joy within the structure. That’s followed by “Do Look,” another original composition by Fern Lindzon. She begins it with some wonderful classical work on piano. Then as the other two come in, there is a shift into cooler territory, the three working closely within a theme, moving in the same direction, before then opening up, bringing in more freedom and opportunities. I especially love that section in the second half that feels like an interesting dance. There is an unexpectedly seductive element to the playing, as things get loose.

“Zeynebim” is a traditional Turkish piece, adapted by Karl Berger. These musicians find a freedom within this piece, space to explore, to see what might happen. Things get loose, but not chaotic. There is an excitement to the playing as a result, and so an excitement for us too. This is a piece that keeps the listener on his or her toes. Don’t you love when music surprises you? Am I completely mad, or is there just a hint of Black Sabbath’s “Iron Man” there just before the end? Then some fun classical work on piano begins “A Flower For Amadeus.” As it settles in, there is an undeniable beauty to this piece. Colleen Allen is on flute for this one. This was written by Moe Koffman, who included it on the 2000 release Moe Koffman Project, an album that George Koller played bass on. It’s cool that he’s revisiting it in a different context here. There is an overall gentle and soothing vibe, with some nice, dramatic turns and some wonderful work on piano.

“Après Un Rêve” was composed by Gabriel Fauré, and this one also begins on piano. It features some gorgeous work on bass too, leading us into reflection and contemplation. We drift into memory, and perhaps we are haunted by someone’s image. She slides into view between the notes but we can’t quite keep her in focus. We become citizens of memory, immersing ourselves in a time we can’t quite let go. If we surround ourselves with those thoughts, those sounds, then maybe that can become our reality once again. This track contains beautiful work on piano. They wrap up the album with “News For Bob,” an original composition by George Koller. This one has a fun vibe right from the start, putting us in a cheerful place. There is a sense of joy, almost of celebration here, like toasting a good friend, drinking to his health, and spreading that merriment around to all in the room. The saxophone and piano work together for a time on a theme, and then get a little looser. There is a cool lead on bass in the second half. This track leaves us ready to face the world outside with a smile.

CD Track List

1. Wondering
2. Canarios
3. Retrato Em Branco E Preto
4. Satin Doll
5. Eucalyptus
6. Compassion Blues
7. Themes
8. Do Look
9. Zeynebim
10. A Flower For Amadeus
11. Après Un Rêve
12. News For Bob

Tryptique was released on November 15, 2024.

Holli Scott: “Weather And Weeds” (2024) CD Review

Holli Scott is a jazz vocalist and songwriter based in Australia. She released her first album, Dust, in 2019, and has now followed that up with Weather And Weeds, an album containing mostly original material, along with one interesting cover. Joining her on this release are two incredibly talented and respected musicians – Jamie Oehlers on saxophone, and Tal Cohen on piano. Oehlers had played on Scott’s previous release, but this is the first time Holli Scott has recorded with Tal Cohen, who is known for his own group, Tal Cohen Trio. Tal Cohen and Jamie Oehlers had worked together on their Innocent Dreamer album, released in 2016, so a rapport already had been built. And perhaps that is part of what made it possible to record this new album in the course of a single session, like some of those great classic jazz albums.

Holli Scott opens the album with “Marionettes,” which seems to tiptoe into the room at it begins, looking around, uncertain but encountering hazy memories of the place. When her vocals come in, the lyrics are delivered as spoken word, read as poetry: “Cloud forms a ceiling that stretches for miles.” And the final lines of this short song are particularly striking: “And expect to discover/We’re all just hanging on strings.” For in that final line, she includes us, which works to draw us in closer. That piece is followed by “Back The Way We Came,” which was the first single released from this album. Here her vocal approach is different, and she delivers a beautiful, captivating performance. “Our own shadows got away from us/Even though we tried hard and we stood stone still/In the yellow.” Interestingly, one of the most captivating moments in this song comes without lyrics, though with strong and moving vocal work. And she is able to convey just as much without words. That section leads to a spellbinding piano solo. The end feels like a dream lifting us with it into the ether, where we are certain to disappear or be transformed in some way.

“Weather And Weeds (Interlude)” eases in, softly, tenderly. The lyrics are delivered as spoken word, for these lines are poetry. Here is a taste: “Dog-eared fences in every shade of stained brown and green/Reluctantly cobbled together as if they’d prefer not to touch/But have resigned themselves to it.” I appreciate that slight pause after the word “touch.” That piece leads straight into “Weather And Weeds,” the album’s title track, a song that was also released as a single. There is a great sense of intimacy here. Holli Scott seems to be able to draw us in so easily, and so strongly. The song then builds in intensity. “And the weeds grew up and over/All the stepping stones/I shook the evening by its shoulders/But it still wouldn’t let me go.” How about those lyrics? Yeah, Holli Scott is the real deal, a songwriter you want to pay attention to, one whose lyrics you want to read to friends, to see how they too might be moved, as we put our own toes out over the edge. This track also features some beautiful work on piano.

“For Mandy” seems to speak directly to a friend. “Your place is dappled sunlight and broken leather/No matter what you carried in with you.” Do we find ourselves in these lines, or do we too look toward someone we may have lost? It may be up to us. The piece then begins to dance halfway through, the piano and saxophone now a couple, shaking off some dust and melancholy, as Holli joins them with some sweet vocal work. Interestingly, after that section, she returns to the beginning, though this time through, the lyrics have something of a different feel, or perhaps we ourselves are in a different place and so receive them differently. That’s followed by “Unravelling.” While the lyrics on this album come to us as poetry, this track also feels like a short story. There is a striking moment when the musicians drop out to allow the voice to be the entire world. “I don’t know what I expected to find/Here of all places/Maybe solace, maybe peace of mind.” This works perfectly. Is it solace she finds there in that moment alone? As we feel ready to ponder this, the others come back in, and we are swept along with the music again. What a beautiful vocal performance she delivers. There is also some gorgeous work on saxophone, and powerful stuff on piano. This is an outstanding track. It ends with her singing “Your words hung in the air,” and again the instruments drop out partway through that line, leaving those very words hanging in the air, a nice touch.

The album’s sole cover is “Tango Till They’re Sore,” a song written by Tom Waits, one which he included on his fantastic Rain Dogs album (an album that Peter Mulvey performs every year at Club Passim during his Lamplighter Sessions). This is an incredible rendition, with an arrangement by Holli Scott, sounding quite a bit different from Tom Waits’ original, and yet not so different somehow. It features an arresting vocal delivery, and another gorgeous lead on saxophone that seems to reach us from some cold, damp city street of memory. “Tango Till They’re Sore” is followed by “Orwell’s Wife,” which features some beautiful work on saxophone at the beginning. I love the way the piano work swells, almost like it is overtaking us. And then the piece moves into a section that has something of a pop vibe. “Blood and sweat, but not the words.”

“Flood (Interlude)” eases in, as did “Weather And Weeds (Interlude).” And as on that earlier track, Holli delivers the lyrics as spoken word. “The moon rests, swollen and heavy on the power lines/Your fingers comb thick lilac air with every step.” I just want to lie down, close my eyes, and let her voice take my mind where it will. The album then concludes with “Flood.” There is a slight pause between these final two tracks, unlike between “Weather And Weeds (Interlude)” and “Weather And Weeds.” I love the dramatic delivery of the song’s title line. And it isn’t just her voice that carries that feeling, but the saxophone and piano too. And soon we get into a more carefree territory, at least for a moment. This is an exciting piece to wrap up a remarkable album.

CD Track List

1. Marionettes
2. Back The Way We Came
3. Weather And Weeds (Interlude)
4. Weather And Weeds
5. For Mandy
6. Unravelling
7. Tango Till They’re Sore
8. Orwell’s Wife
9. Flood (Interlude)
10. Flood

Weather And Weeds was released on October 25, 2024.

Judy Wexler: “No Wonder” (2025) CD Review

On Back To The Garden, Judy Wexler’s 2021 release, the talented jazz vocalist offered her own takes on some popular songs from the 1960s and 1970s, songs with strong relevance to current times. Now on her new release, No Wonder, she covers a larger time period, both reaching farther back for some excellent choices of standards and delivering a couple of more recent numbers. These are songs you likely know, or at least most of them are. And, as she did on Back To The Garden, Judy Wexler puts her own great touches on the material here. Sometimes it is just the way a key line or phrase is delivered that makes the song feel new. She is adept at choosing those moments, of picking just the right phrases to highlight in order to make the songs hers, and in the process giving us the opportunity to hear these songs with fresh ears. Joining her on this release are Jeff Colella on piano and melodica (Colella also co-produced the album with Judy Wexler and did most of the arrangements), Danny Janklow on saxophone and flute, Bob Sheppard on saxophone and clarinet, Jay Jennings on trumpet and flugelhorn, Larry Koonse on electric guitar and acoustic guitar, Gabe Davis on bass, and Steve Hass on drums.

Judy Wexler opens this album with a fairly recent song, “No Wonder,” which was written by Luciana Souza, and included on her 2003 album North And South. I like the rhythm of the vocal line. And the way she delivers the line, “Have you got a heart,” it feels that she is truly asking. This track features some really nice work by Danny Janklow on tenor saxophone. I also love Steve Hass’ work on drums, which gives a good sense of movement to this piece, gives the track an energy. “Your vacant looks don’t prove a thing/I wish I knew the bottom of your heart.” Judy Wexler had previously covered Luciana Souza’s “Circus Life” on her 2019 album Crowded Heart. “No Wonder” is followed by “The Summer Knows.” “The Summer Knows” is a song that most people are familiar with, even those who have never seen Summer of ’42 (or who haven’t even heard of it). The song was composed by Michel Legrand as the theme for the movie (Legrand won the Oscar for best original dramatic score); Marilyn and Alan Bergman wrote the lyrics. It’s a beautiful piece of music, and Judy Wexler delivers a wonderful rendition. As it begins, there is nice work from the brass section, helping to set the tone. Judy Wexler delivers a dramatic and moving vocal performance, where she is part storyteller, part character within the story. This track also features a good bass line, as well as an excellent lead on saxophone in the second half. This is one of my personal favorites. “Lets you see the wonder of it all/And if you’ve learned your lesson well/There’s little more for her to tell/One last caress/It’s time to dress/For fall.”

Then she really takes us back to the 1940s, with a rendition of “You Stepped Out Of A Dream,” a song written by Nacio Herb Bruce and Gus Kahn, and featured in the movie Ziegfeld Girl. Judy Wexler’s version features a great rhythm that provides an earthy element, while her vocal performance contains more of that dreamlike quality, or a reaction to a dreamlike vibe.  I love the combination of feelings, of tones. And ultimately, there is a great joy. Plus, there is some damn fine drumming here. I also like the way the saxophone and trumpet interact. Judy Wexler released this song as a single a couple of weeks ago. That’s followed by “Never Will I Marry,” a song written by Frank Loesser for the musical Greenwillow, which opened in early 1960. Judy Wexler doesn’t bother with that little intro from the musical (Judy Garland, Nancy Wilson and others have also cut it). This is an interesting song, for most songs about wandering make the action seem appealing. Not so with this one, which is about someone who is born to wander but wishes to settle down. There is a sense of fate acting against the person, and Judy does a great job of expressing that. The piano lead also expresses that sense of fate, of doom.

“Wish You Were Here” is a song written by Harold Rome, and one that was a hit for Eddie Fisher in 1952. There is a wonderful warmth as well as a yearning to Judy’s vocal performance. “Someone’s painting the leaves all wrong this year/Wish you were here/And why did the birds change their song this year/Wish you were here/They’re not shining the stars as bright/They’ve stolen the joy from the night.” This track also contains some really nice stuff on bass, as well as a cool lead on guitar. There is also a great section near the end where Judy allows herself to drift into a dream of the person being there, repeating the line “Wish you were here,” while the guitar offers some wonderful support. She then offers a strong rendition of “Firm Roots (Are What You Need To Win).” This song began as instrumental in the mid-1970s, then titled simply “Firm Roots,” written and recorded by Cedar Walton. Then a couple of decades later, Kitty Margolis wrote lyrics for the song, and recorded her version for the album Evolution, where she called it “Firm Roots (Are What You Need To Win).” “Every one of us has some kind of blessing/Truth is what you need to win.” Those are good words to keep in mind in what are certain to be trying times ahead, as are these: “And it’s never much too late to start over/‘Cause the net result will show/So when you wake up and start every morning/Take a minute just to breathe/Because you never know where this day will take you.” And then there is a drum solo, coming as a delightful surprise. Have I mentioned how good the drumming is on this album?

“Slow Hot Wind” began as an instrumental piece titled “Lujon,” which was included on Henry Mancini’s 1961 record Mr. Lucky Goes Latin. Then Norman Gimbel added lyrics to it, and it was recorded by folks like Sarah Vaughan and Johnny Hartman. This rendition by Judy Wexler has a cool, intriguing opening, sort of an air of mystery about it. And there is a dreamy, sultry delivery of that first line, “His gaze swept over me like a slow hot wind,” all of which establishes a compelling tone. You can feel the heat on your body as she sings. Adding to that great vibe is the work on saxophone. This is another of my personal favorites. It is followed by “I Wish You Love.” Many of the English renditions begin with the line “I wish you bluebirds in the spring,” but Judy Wexler includes that great opening (which was also included by Shirley Bassey and Esther Phillips): “Goodbye, no use leading with our chins/This is where the story ends/Never lovers, ever friends/Goodbye, let our hearts call it a day/But before you walk away/I sincerely want to say.” And then we get that cool rhythm, as Judy sings that famous “bluebirds” line. Judy offers some sweet scat in this rendition. That section is followed by a vibrant lead on saxophone, and then a bright lead on trumpet. We all need love, don’t we? And I suspect we’re going to be especially in need of it over the next four years.

My opinion is that Leonard Cohen was the best songwriter of all time (yes, better than Cole Porter, better than Gershwin, better than Lennon, better than Dylan), and on this album Judy Wexler chooses to cover “Dance Me To The End Of Love,” a song from Various Positions, which is one of my two favorite albums (the other being Grateful Dead’s American Beauty). It’s the song Leonard Cohen chose to open all the concerts I was fortunate enough to attend in those years when he went back to touring. As Neil Tesser mentions in the liner notes to this album, this song was actually inspired by the Holocaust, in particular the fact that prisoners were forced to play string quartet music while their fellow prisoners went into the crematoriums. Judy Wexler then began thinking of this song again after the brutal attack in Israel on October 7, 2023. She puts her own spin on the song, giving it a different vibe, partly in the rhythm, and emphasizes the eastern European aspect of the sound, which works wonderfully, as well as the beautiful darkness in the song. This track features some excellent work on clarinet and guitar. This is really a spectacular rendition.

“That Sunday, That Summer” was written by Joe Sherman and George David Weiss, and was a hit for Nat King Cole in 1963. It’s a sweet number, a love song recollecting the meeting of that special someone. I love the excitement and joy in her delivery of the line, “I could almost hear them whisper, ‘Go on, kiss him, go on and kiss him.’” Sometimes when we reflect on those memories, we regain that youth, that joy, and we hear that in her delivery. I often think of that moment when I first met the love of my life, though it was a Saturday, not Sunday, and in winter, not summer. Jay Jennings plays flugelhorn on this track, delivering a really nice lead. Nat King Cole also recorded “A Weaver Of Dreams,” this one more than a decade before “That Sunday, That Summer.” This is also a love song. “I’m in your spell, and there’s no cure/I’m lost for sure/Because you’re a weaver of dreams/And I’m in love with you.” We hear in Judy Wexler’s voice the tremendous joy of falling under that spell, that wonderful feeling of giving in to so great a love, letting it take over. We also hear it in that delightful work on alto flute. She then wraps up the album with “The Night We Called It A Day,” a song written by Matt Dennis and Tom Adair. It was recorded by Frank Sinatra and Carmen McRae, and more recently by Bob Dylan. Judy Wexler’s rendition begins gently on piano, immersing us in memory. This is a beautiful and tender rendition. “I heard the song of the spheres/Like a minor lament in my ears/I hadn’t the heart left to pray/The night we called it a day.”

CD Track List

1. No Wonder
2. The Summer Knows
3. You Stepped Out Of A Dream
4. Never Will I Marry
5. Wish You Were Here
6. Firm Roots (Are What You Need To Win)
7. Slow Hot Wind
8. I Wish You Love
9. Dance Me To The End Of Love
10. That Sunday, That Summer
11. A Weaver Of Dreams
12. The Night We Called It A Day

No Wonder is scheduled to be released on January 24, 2025. And for those folks living in Los Angeles, her album release party is scheduled for February 13, 2025 at Catalina Jazz Club.