Dave Rudolf: “That Ship Has Sailed” (2024) CD Review

Dave Rudolf is a singer and prolific songwriter who enjoys working in various musical realms, never content to remain in one spot for very long. You can get a sense of that on his new album, That Ship Has Sailed, which contains elements of folk, country, blues and other genres. The album contains all original material, more than an hour of it. Dave Rudolf plays both acoustic and electric guitar on this album, and is joined by Felton Offard on guitar, Jack Whittle on guitar, Dan Peters on guitar, Mark Evans on guitar, Thomas Linsk on keyboards, John Chorney on keyboards and organ, Wally Hustin on bass, Gary Victorine on pedal steel, Steve Hesiak on saxophone, Tim Bales on trumpet and trombone, Al Joseph on violin, and Lauren Dukes on backing vocals.

The album opens with “That’s My Girl,” a love song with a good dose of soul and a great cheerful vibe. “Now no one’s ever gonna tell me/That I have not somehow been blessed/I’ve got the sweetest piece of heaven/I adore that girl, I must confess,” Dave sings at the beginning of this one. What better feeling is there? I hope everyone is lucky enough to know just exactly what he’s talking about here. This track features some really nice touches on guitar, plus good work from the brass section that has an uplifting effect. “I’m going to hold onto this goddess/Even through life’s twists and curves.” Dave Rudolf then gets into delicious raw bluesy territory with “Practice What You Preach,” a track that features some great stuff by Al Joseph on violin. Yes, it’s a country blues number, and it’s about how the actions and opinions of certain folks who claim to be Christians are not in line with what is supposed to be Christian teachings. And that includes religious leaders, who put down entire groups of people in their fiery sermons. This is something that has been going on a long time, of course, but it seems to have become more prevalent, or at least more noticed, in recent years. “The bible I read taught forgiveness and grace/And the verses of love you seem to have misplaced/So practice what you preach.” And check out these lines: “If the Jesus you worship came back to this earth/Now you wouldn’t accept him for the country of his birth/He’s not as Caucasian as the pictures on your wall.” I like how Dave Rudolf tackles the problem directly. I also like how this song encourages kindness. And I love when the backing vocals join him on the title line. This is one of my favorite tracks. “You can thump on your bible, claim redemption is near/But if you’re talking about hate, it’s a message we won’t hear.”

“That Ship Has Sailed,” the album’s title track, is a fun, hopping country number coming at us at a quick pace and featuring great stuff on guitar and keys. At one point, the guitar dips a bit into a surf style, which is cool. It’s for just a few seconds, but it’s a perfect example of how Dave Rudolf mixes different elements to great effect. This track also contains an excellent vocal performance, as well as some delicious backing vocal work. That’s followed by “You’re My Home,” a pretty song with a heartfelt vocal delivery. “When the world makes no sense/I see you as a defense/I know I’m not alone/Because you’re my home.” The idea of home is such an effective one in song. I’ve said it before, but I’ve never heard a bad song titled “Home.” Somehow this subject brings out the best in songwriters, perhaps because they are on the road so often. “You’re my home” is a phrase that Ellis Paul used in his song titled “Home,” in the lines “This house is just an address/You’re my home.” When we really think about what’s most important in life, it always comes down to love, doesn’t it? “You’re My Home” is another of my personal favorites.

And speaking of love, “September Nights” is a love song. We can never have too many love songs. Here is a taste of the lyrics: “I’ve been thinking you’re the answer/To any question I could pose/Let me walk beside you/As the stars begin to light/Just the two of us together/On this fine September night.” Ah, yes. This track features some wonderful work on guitar. Then in “Something In The Water,” Dave sings, “There’s something in the water/That’s turning folks real mean.” Yeah, what is it? We can’t help but wonder what it is during that brief instrumental section after that line. Then he sings, “There’s no good explanation for the hatred that is there.” Dave Rudolf likens it to poison, which feels right. This track too contains some excellent work on guitar. Then some sweet work on pedal steel helps set the tone on “This Love Is Mine.” “When all is washed away, our hearts remain.” This is a beautiful song, one I appreciate more each time I listen to it.

“Promise To Deliver” has such a good vibe about it, and features the horns. It is in the rhythm and blues realm, with wonderful, soulful elements, particularly in the vocal performance. It also contains a good bass line. “I will be beside you/I’ll be your constant star.” I love that work on saxophone toward the end. Then “Days Of Yore” is about how some folks look to the past, wishing to return to a period that they now believe was without problems. Of course all times have had their challenges and troubles, but, hey, people’s memories are incredibly short. Some people today can’t even recall how terrible things were four years ago. Details are lost, and all that is there now is a feeling about the time. “It’s true that some had blessings/A Normal Rockwell life/And others were left just to struggle/Amidst a life of strife.” He sings with understanding, with sympathy for those folks who want to paint the past in brighter colors, and maybe that’s the way to reach them. There is some excellent guitar work at the end.

“Madeline” has a catchy pop rock vibe. It’s about troubles that an individual keeps hidden even from those closest to her. People often show only one face to the world, and so others often don’t know something is wrong. It’s understandable, because no one wishes to be a burden to others, and so folks refrain from reaching out. That’s followed by “Product Of His Pride,” which has a wonderful Spanish flavor, fitting for the song’s subject and location. That guitar work is fantastic, and this song also features some great stuff on pedal steel. “Every glance that she receives/Fans the flames of their desire/He can’t stand their rapt attention/Every gaze becomes a dare/In this dance of jealousy/It’s a slight he cannot bear.” This song tells a good tale, but it’s that guitar work that especially makes this one stand out. Then “When The Sun Breaks Through” is a positive number with a good vibe. “It’s been dark and grey and you’re feeling low/You’ve been trying hard, with not much to show/But there is always hope, always more that you can do/Lady luck will turn and she will smile on you/When the sun breaks through.” It feels like perhaps the sun is going to break through on this country in November and put an end to a culture of greed and hatred and deceit. “We must rise above/The skies are turning blue,” Dave sings here. Let’s hope certain key swing states turn blue too.

“He’s kind to everybody/He often is bemused/He doesn’t see why he is forced to choose/Because he’s happy,” Dave Rudolf sings in “Happy.” To a certain extent, one can determine his or her outlook, or at least take steps that direction. It’s a matter of how one reacts to everything around him or her. And that’s what this song is about. What I’ve learned, at least for myself, is that being constantly angry at the world doesn’t accomplish anything, and hurts only me. So I try to do the things that make me happy and keep the rest to a minimum. And, hey, there is a lot to be happy about, such as all the great music that is out there. “There’s problems all around us/Troubles waiting around the bend/Maybe look to find joy where we can/And we’ll be happy.” Among the many things taped to my refrigerator is this line from John Barrymore: “A man is not old until regrets take the place of dreams.” In “Regrets,” Dave Rudolf sings, “Regret is useless/We all have some/It just prevents you/From getting things done.” It’s true that we all have things we wish we’d done differently. Regretting is helpful only if you learn from whatever it is you would change, and make different choices in the present; otherwise, it is a waste of time. Thomas Linsk delivers some nice stuff on accordion.

 Al Joseph delivers some warm and pretty work on violin on “Twilight Of Their Years,” helping to create the track’s tone. Though I don’t believe it’s the intention, this song makes me sad. Songs about aging, even when they offer a comforting viewpoint, have been hitting me lately, making me think of the inevitable loss that comes with getting older. You might not have that experience when listening to this pretty song. It might hit you differently. Dave Rudolf then ends the album with a rousing, energetic song, “What Goes Around, Comes Around,” which features the horn section. It’s a song about karma, something I don’t necessarily believe in. I do hope, however, that certain folks will suffer consequences for their terrible actions, “and that some justice is finally served.” But this is a playful number featuring some lively work on keys, as well as good rock and roll stuff on electric guitar.

CD Track List

1. That’s My Girl
2. Practice What You Preach
3. That Ship Has Sailed
4. You’re My Home
5. September Nights
6. Something In The Water
7. This Love Of Mine
8. Promise To Deliver
9. Days Of Yore
10. Madeline
11. Product Of His Pride
12. When The Sun Breaks Through
13. Happy
14. Regrets
15. Twilight Of Their Years
16. What Goes Around, Comes Around

That Ship Has Sailed was released on June 30, 2024.

Porch Fest In Los Angeles, 8-31-24

Evangenitals playing "Thirty Days"

There is an international porch fest called Play Music On The Porch Day, and it was held yesterday. In fact, yesterday was the tenth year of this event. Boston had been holding its own porch festivals for a long time, and many years ago I thought it would be great for L.A. to do something similar, but folks told me that no one in Los Angeles would want strangers coming to their homes. Well, turns out those people were wrong, for several homes across Los Angeles took part. The problem is that, as everyone knows, Los Angeles is spread out, so there isn’t the strong sense of community one has at the Boston porch fests. Boston holds them neighborhood by neighborhood, so people can walk from one show to the next and catch several different bands in a day. Los Angeles hasn’t gotten there yet. Your best bet yesterday for getting that porch fest feel was probably Highland Park, where there were four or five places near each other, at least according to the website’s map. But just a bit south of there in Montecito Heights, The Evangenitals took part, and that’s where my girlfriend and I spent the afternoon. A stage was set up in the yard, where there was shade and a pleasant atmosphere.

"It's A Long Way To The Top (If You Wanna Rock 'N' Roll"

While Evangenitals lead vocalist and guitarist Juli Crockett waited for other members of the band to arrive, a nice jam began with some of the other musicians who showed up. It was very loose, and led to renditions of Bob Dylan’s “Knockin’ On Heaven’s Door” and “I Shall Be Released,” with bass player Dan Paquin quickly teaching the others the latter. That song led directly into a portion of 4 Non Blondes’ “What’s Up.” The musicians sometimes switched instruments, which would be a part of The Evangenitals’ set too, fitting with the fun, relaxed vibe of the day. John Allan brought out the bagpipes, and soon brought me back to my early childhood, he and the others delivering a wild rendition of AC/DC’s “It’s A Long Way To The Top (If You Wanna Rock ‘N’ Roll),” which was on High Voltage, the first AC/DC album I ever got (I was six years old). Then Alice Lin did a solo set on keyboard and vocals. At the beginning she told everyone that she usually plays in her kitchen and so was going to imagine us as kitchen appliances. There was a lot of humor to her set, particularly in her banter, but my favorite song was one that was much more serious, and it came just before the end of her set. With that one (I don’t know the song’s title), she had everyone completely captivated.

It was just after 5 p.m. when The Evangenitals took the stage. The band has had many members over the course of its existence, and what was particularly wonderful yesterday was that members from various times in the band’s history shared the stage. They started the set with “Hello,” with Juli Crockett on vocals and guitar, Michael Feldman on keyboard, Andrea Baker on fiddle, Cody Farwell on steel guitar, Ari DeSano on banjolele, and Brett Lyda on drums. Then Brett switched to bass, and Dan Paquin sat in on drums for “Home,” an appropriate song for the occasion. It featured some particularly good work on steel guitar. Dan then switched to bass, and Mike Starr joined the group on drums for “I’m Sad.” As they were getting ready to play that one, in effect re-learning it, Juli quipped that the pandemic wrecked their lives and the band was in shambles. After that song, someone asked Juli to announce that a phone was missing, which she did. And even as she did, the phone was found, leading Juli to joke, “Thank you for your swift action in this matter.”

"The Work Song"

Theo, Juli and Michael’s son, got behind the drum kit for “The Work Song,” always a highlight of any Evangenitals set. And it is Labor Day weekend, after all. They followed that with “Never Too Late,” with Dan back on drums, leaving the band without a bass player. But no problem, Michael said he’d play the bass line on keyboard. During this song, we were treated to excellent leads on both fiddle and steel guitar. Michael then did a little bass solo on keys, receiving laughter from both the band and audience. The band brought the tone down with the beautiful and wonderfully depressing “We Just Get Along.” At the end of that song, Princess Frank arrived and was immediately invited to sit in on drums, which he did. Dan was back on bass. They then did a fun version of Chuck Berry’s “Thirty Days,” with the audience echoing the title line. Princess Frank fanned himself with a cymbal between songs. I think he had biked up the hill. “Hey Ya” was requested, and the band gave it a go. There was a false start, as the key was adjusted, and then everything seemed right. Following that there was a discussion about whether to end the set with “Fuck ‘Em All” or “Gasoline.” My hope was they’d do both. They chose “Gasoline,” always a great choice to conclude a set. And they played around with some of the various clean endings they’d done over the years, before ending it properly. The set ended at 6:25 p.m.

Here are some photos from the afternoon:

first jam of the day

John Allan

Alice Lin

Juli Crockett

"Home"

 

"The Work Song"

"Thirty Days"

Brief Notes On New Jazz Releases

Here are notes on a few new jazz albums you might want to check out.

Alexis Cole And The Tapei Jazz Orchestra: “Jazz Republic: Taiwan, The United States And The Freedom Of Swing” – Vocalist Alexis Cole teams up with the Tapei Jazz Orchestra to create a special album that celebrates music’s power to bring folks together. The album opens with a rousing rendition of Paul Winter’s “Common Ground,” common ground being an idea that somehow got lost here in this country over the last eight years. But it is present in music, where different voices and instruments come together to create a fuller sound. This song and this album are a celebration of that very thing, and I love the joy in the playing and in Alexis Cole’s delivery. And in the second half, there is a good, though brief, drum solo, adding to the track’s appeal. There is even some scat toward the end. There is so much energy to the performance that I’m surprised to not hear applause at the song’s conclusion. That is followed by “Begin The Beguine,” with Alexis Cole adding a short spoken word section to the beginning. “I’m in your arms and we’re dancing.” Ah yes, an image and a feeling that we all cherish, that we long for. And so right away we understand the longing of the song. Alexis Cole gives a passionate vocal performance, matched by some of the work by the brass section. The track concludes with a return to that spoken word section. From Cole Porter to Billy Joel? Sure, why not? Alexis Cole has fun with “Uptown Girl,” a song that you couldn’t avoid in 1983, but which we haven’t heard much in the subsequent years. There is a light, cheerful vibe. Then “I’ve Grown Accustomed To His Face” features some really nice work on piano. One of my favorites is Alexis Cole’s take on “Bye Bye Blackbird,” from that delicious opening with her vocals supported by bass and drums. This track has one of the album’s best and most impressive vocal performances, and includes some joyous scat. Then check out her gorgeous performance on “Here’s That Rainy Day,” a track that also features some wonderful work on trombone. “Moon River” features a lively lead on clarinet, as well as some really good stuff on piano. Another highlight is “Beyond The Sea,” which features a bright lead on trumpet, along with more excellent vocal work. The album concludes with a fantastic rendition of “You Make Me Feel So Young,” certain to leave you feeling youthful too. This album was released on August 19, 2024.

Jason Kao Hwang: “Soliloquies: Unaccompanied Pizzicato Violin Improvisations” – Violinist and composer Jason Kao Hwang is adept at telling stories with his music.  Last year, in fact, he released an album titled Book Of Stories. His new release is titled Soliloquies. A soliloquy tells a different and personal tale, for it is within soliloquies that characters reveal their thoughts and worries and goals directly to the audience. Remember, no character ever lies in a soliloquy. Also, apart from the audience, characters are generally alone when delivering soliloquies. And so it is that Jason Kao Hwang’s new album is made up of solo violin pieces. The album opens with the appropriately titled “At The Beginning,” which is striking in its dramatic use of pauses as well as for Jason Kao Hwang’s style of delivery, the pizzicato technique, which is usually used only in certain sections of songs rather than throughout a piece or album. It does feel like a voice, and reminds me of the way different actors might choose to approach a well-known speech, making it fresh with well-placed breaths. And what Jason Kao Hwang does here is command our attention and draw us into his own story. That’s followed by “Hungry Shadows,” a powerful image, the music fitting that image, with a voice that is at times perhaps uncertain or wary. There is an intimacy here created between the subject and audience. In “Vagabond,” it feels like the past has surfaced and is speaking to us in short phrases that we won’t easily forget. In “Remembering Our Conversation,” there is the sense of wisdom and knowledge imparted, handed down, and then made useful. Knowledge in action. “Where The River Runs Both Ways” transports us, both to a different time and a different space, but touches something within us, and so the unknown feels familiar. I love many of the titles Jason Kao Hwang gives his pieces, and on this album “Silhouettes Lean Forward” is particularly good, that title providing us with a strong image as the music begins, as well as a question. To what are they leaning forward? We listen for the answer, but instead get caught up in the unusual direction of the track. There is something playful here which attracts us. Then there are captivating moments in “Encirclement,” a dramatic energy running through it that might have you holding your breath at times. The action of “Bending Branches Into Roots” (another wonderful title) comes in short spurts, as if trying out different things to get an idea of the outcome. “Shards” makes me think of heavy rain drops falling into a metallic river, and the river responding. The past steps into the present again on “Before God,” the album’s final track, which feels like it is reaching out for answers. In fact, there seems to be a need for them. But the voice is alone, at times its own questions echoing in the darkness. This album is scheduled to be released on September 15, 2024.

Omer Leshem: “Play Space” – Omer Leshem is a saxophone player and composer originally from Herzliya, Israel, and now based in New York City. His new album features all original compositions. Joining Omer Leshem on this release are Nadav Remez on guitar, Moshe Elmakias on piano, Elam Friedlander on bass, and Ben Silashi on drums. The album opens with “Twilight Hymn,” which very quickly develops a cool vibe, with a strong Middle Eastern flavor, featuring some wonderful work on both saxophone and guitar within the track’s first minute, hooking the listeners, and then growing from there. I love music that is able to transport me in some way, and this track certainly does that. And it begins to feel like a dance approximately halfway through, working to raise spirits. And the guitar lead in the second half is excellent. Then “Take An Advil” comes flying in, moving at a fast pace and demanding our full attention (or we’ll be left behind). This track features some completely delicious work on both drums and bass, as well as some exciting stuff on saxophone and piano. This track is a vibrant and thrilling ride. Omer Leshem changes gears then with “David’s Devastating Journey,” which begins with some soft, contemplative work on piano, feeling like it takes place at a lonesome early morning hour before the sun brings the world to life. When the saxophone comes in, it has a feeling of melancholy, and also like it faces some tough decisions ahead. Beautiful work. And the bass seems to offer some comfort during its lead. The track builds to become a gorgeous and moving piece. Things then get fun with “Cape Town Swag,” which has a strong, prominent rhythm. Oh yes, here is where the action is. The musicians change gears again with “The Heroic Era Of No Consequences,” which begins in a more somber place, and we sense colossal forces at work in that opening section. The piano then introduces a more intimate, individual human scope. And soon these two things are working together, creating another interesting experience. “Pull The Donkey” has a delicious groove at its center, and features some wonderful stuff on saxophone. And check out the drumming toward the end. Then “Mulberry Garden” begins with some thoughtful work on saxophone, a lone voice in a larger world. It develops into a pretty track, featuring some really nice stuff on guitar. There is a tension at the beginning of “Go You Maniac,” which remains even in those moments when a warmth is introduced. And it reflects the insanity out there, and reacts to it. Omer Leshem wraps things up with “Back Home,” which begins tenderly, with warm and fond memories. Yet there are hints of sadness, and as the track progresses we sense some unresolved troubles that lurk beneath the surface. It returns to a mellower place as it reaches its conclusion. This album is scheduled to be released on September 27, 2024.

Rosemary Loar: “Coraçāo Vagabundo/Vagabond Heart” – Rosemary Loar is a singer and composer, and her new album features several original compositions as well as some wonderful choices of covers. She is joined by Frank Ponzio on piano, Tom Hubbard on bass, Vito Lesczak on drums, Gary Schreiner on harmonica, and David Longworth on egg and triangle. The album opens with its title track, “Coraçāo Vagabundo,” written by Caetano Veloso and Gal Costa. This rendition eases in, featuring some pretty work on bass during that first section. Then there is some nice stuff on harmonica, setting the tone for Rosemary Loar’s entrance. She delivers a gorgeous and touching vocal performance here. That’s followed by one of the album’s original songs, “Just A Fairy Tale,” the piano working as our usher into that fairy tale world, before the song opens up in a dramatic way. And then we learn that she is looking back at something that she discovered wasn’t real. “Oh, how willingly I fell/How deeply in your spell/It was just a fairy tale/Figment of my fantasy.” Ah, that fairy tale beginning did not last, and we were tricked just as she was. And once she has come to terms with it, the song begins to swing, and features some excellent work on piano. The piano is now part of the real world, and joyously so, even though there is then a moment where it begins to slip back into that fairy tale. We still want it to be real, don’t we, and slip into the fantasy’s arms? “Your Turn To Be Brave” is another of the original compositions, and near the beginning of this one she sings, “It scared me to say it/But I trust my love is real.” We get the feeling this one will not turn out to be fairy tale, especially when it kicks in with a cool and sexy force. Who could help but fall for her as she sings, “I’ll hold on long as I’m able/But it’s so hard to behave/I blurted out ‘I adore you’/You’re the one that I crave.” She is both adorable and sexy here. This track also features a delicious lead on bass and some vibrant work on piano. This is one of my personal favorites. It’s followed by another original song, “You Taught My Heart To Sing.” “We meet and it begins/The sound of violins,” Rosemary sings at the beginning, and we know exactly how she feels. It’s not just in the words, but the way she delivers them. While there might not be violins on this track, there is some good work on harmonica at key moments. That’s followed by “Fascinating Rhythm.” I’ve said it before, but you can never go wrong with Gershwin, and Rosemary Loar delivers a fantastic rendition here, pulling us in with a captivating vocal performance. Then nearly halfway through, she picks up the pace, and includes some scat. She also gives us a cool version of Sting’s “La Belle Dame Sans Regrets,” featuring another alluring vocal performance. “I Don’t Want To Know For Sure,” the album’s final original number, has a beautiful, timeless vibe. “I don’t want to know for sure/It’s fun to have this fantasy/That I’m much more than a friend/Our romance will never end.” This album was released on July 18, 2024.

Jeff Rupert: “It Gets Better” – Saxophonist Jeff Rupert is known for his work in The Jazz Professors and with The Flying Horse Big Band. His new album features mostly original compositions. Joining him are Kenny Barron on piano, Peter Washington on bass, and Joe Farnsworth on drums. Jeff Rupert opens the album with an original number, “Petrichor (In The Cote D’azur),” which has a kind of sweet intro, and then very quickly becomes a fun, gently swinging tune that has a light, easygoing attitude, like a joyous walk through the city when you have no pressing obligations, when the rain has left the streets and air feeling clean. The work on saxophone begins to soar partway through. This track also contains good leads on piano and bass. That’s followed by “Comanche Crush,” about the sailing yacht that set a new transatlantic record in 2022. As you might expect, this one moves at a good clip. There is a strong sense of forward movement, particularly in that first section, and a good energy. It features an excellent and exciting lead on piano. And you can feel the wind at your back during the saxophone lead in the middle. Then we get the album’s first cover, Billy Strayhorn’s “Lana Turner,” which has cool, somewhat relaxed vibe, as the saxophone casually struts about in a way that is alluring. That’s followed by the album’s title track, “It Gets Better,” an original composition that has a great vibe from the start, with that cool bass line. Honestly, it was the album’s title that initially drew me to this album, for I appreciate that sense of optimism. And it does feel like things are getting better, doesn’t it? If it doesn’t for you, give a listen to this track, for I think this music will help. It’s one of my personal favorites, and it might get your spirits dancing. Jeff Rupert takes us in a different direction with “Pharaoh’s Daughter,” which has a darker, more contemplative vibe, though still containing some bright moments. I love how we get caught up in the motion, particularly of Jeff Rupert’s lead. He then delivers a really nice rendition of “Like Someone In Love,” which has a certain warmth, a certain friendliness to it. It also contains some excellent drumming, including a solo, and a delicious lead on bass. The final cover is “Nowhere To Go But Up,” from the movie Mary Poppins Returns (a relatively recent release I didn’t know existed until now). It’s a cheerful number, featuring a particularly good lead on piano. That’s followed by “Not My Blues,” a cool and engaging tune that features some delicious work on drums. The album concludes with “Promenade In Blue,” a thoughtful piece that seems to reflect on a past of some suffering. This album is scheduled to be released on September 6, 2024.