Brief Notes On New Jazz Releases

I thought about dropping the word "New" from the title of this one, for all these discs I mention here came out last year. But I think that still makes them new, at least relatively new. Wasn't 2025 here just a moment ago? And fortunately music doesn't expire anyway. So here we go...

Antonia Bennett: "Expressions" -  Antonia Bennett is a talented vocalist who happens to be the daughter of Tony Bennett. She has some great musicians backing her on Expressions, including Christian Jacob on piano and keyboards, Kevin Axt on bass, Kendall Kay on drums, and Larry Koonse on guitar. There is something about her voice that immediately makes me feel better about the world, and maybe it's because her voice seems to come from a world that is already better. Right from the beginning of the first track, "Do You Still Think Of Me," her voice delivers a positive sense or outlook of the world. "Don't get me wrong, I'm not unsatisfied with life," she tells us, and we have every reason to believe her. The song finds her immersed in positive memories. "Funny thing how memories come flooding come back/When I pass the places we used to go/And the silly things you used to do to make me laugh." I love the way she delivers the line, "I know, I know, I know times change and situations rearrange," like she is defeating an argument before it can be voiced. And if she can do it, if she can remain in this great place, then maybe we can too. This track also contains some nice work on piano. And her vocal performance is a delight on "Exactly Like You," expressing an innocence, a youthful attitude and cheer that is incredibly appealing. This track also features an excellent lead on guitar. She then gets into bossa nova territory with her wonderful rendition of "Once I Loved," a song delivered with warmth and tenderness, not despairing even on a line like "Love is the saddest thing when it goes away." One of my favorite tracks is "Comes Love," because of Antonia's cool approach. She has us in her hands with those first couple of hands. I also love Kevin Axt's work on bass here. And Larry Koonse's lead on guitar is just exactly right. "Right On Time" is totally cheerful, just the kind of thing we need these days. We want to feel the way this song feels. Another of this album's delights is her rendition of "Ain't Misbehavin'," in part because of Christian's work on piano, though largely because of Antonia's vocal performance, which has a welcoming vibe, along with the right amount of playfulness. That song is followed by "Hushabeye Mountain," which is gorgeous and moving. Randy Brecker joins the band on trumpet and flugelhorn for this one, and his presence certainly adds to the track's great appeal. Antonia Bennett wraps up the album with the touching and beautiful "See You On The Other Side," featuring a tender vocal performance. "I'm alone, but I'm not lonely/I'll see you on the other side." This album was released on June 13, 2025.

Nick Biello: "New America" - With a title like that, I wasn't sure what to expect from this new album from saxophone player Nick Biello. After all, the new version of our country that we're all experiencing is depressing and infuriating. And while the album's first track, "Bel Canto," has a certain dramatic essence, the music takes us to some wonderful places. And Nick's lead is lively and exciting. Joining Nick Biello on this album are Charlie Porter on trumpet, George Colligan on piano, Alex Tremblay on upright bass, and Peter Kronreif on drums. And they all get opportunities to shine on that first track. This album contains all original material, composed by Nick Biello. "Bel Canto" is followed by "Queen Of Jordan," and the mood shifts, this one more in the bossa nova style. There is a feeling of warmth, but also of contemplation, and of an attempt to keep trouble at bay. There are some excellent, passionate leads here, especially by Nick Biello on alto saxophone, sounding as if drawing on powers both from great heights and dark depths. There is a need heard in his playing. Then "Slightly Perilous" comes on strong and fast, pulling us along before we even have a chance to breathe. There is some fantastic drumming, and I love the way the saxophone and trumpet interact and work together. It's an exciting piece, taking us to the edge at times, and also giving us hope at times, the rhythm constantly pressing forward. There is another tremendous lead on saxophone. Then "Before The Flood" begins in a darker place, with an ominous tone. Something is coming, and we are unable to stop it. As this fades, the saxophone is left to face alone what is left for a moment, before ushering us into a different space, a more human space. And everything begins to move with it. There is a more wild energy now. As it reaches a certain plateau, we find the darkness has beaten us there. We can't retreat, but we do pull back for a moment, before addressing this new reality and finding an undeniable majesty to it. There is a power here, one of great age. What is our place here? The trumpet endeavors to discover just that. This is an incredible piece, an incredible journey. Then "A Long Way To You" begins in a warmer, more tender place, offering us a chance to relax and reflect, a chance for fond memories to surface. It features some beautiful work on saxophone. The album concludes with its title track, which at times feels welcoming, though beneath that is a need to work together. Different opinions are expressed, but through it all is a sense of hope, and a sense that whatever needs to be accomplished can in fact be done. This album was released on June 20, 2025.

The Birdland Big Band: "Storybook: The Music Of Mark Miller" - This album, as its title informs us, focuses on the compositions and arrangements of the band's lead trombone player, Mark Miller. The album begins with its title track, which has a gentle opening and soon shifts into a more dramatic realm, the instruments feeling like various characters while also returning to that soothing beginning, though now with more life and power behind it. Brandon Lee delivers a good lead on flugelhorn, which builds wonderfully, the other brass instruments joining in that rise in energy. Kenny Ascher's lead on piano begins in a more magical, more mysterious realm before engaging in delicious spurts of energy. The track provides an unusual and intriguing ride, and ends as it began. It is one of Mark Miller's compositions. That's followed by "Water Lily," which was written by Kenny Barron. It quickly becomes a lovely dance, one which life itself seems to engage in, summoning powerful forces to join in. This track features some excellent drumming by Chris Smith, who is at the center of these swirling forces. The piano emerges and takes over the direction of the dance. The energy here is wonderful. Vocalist Nicole Zuraitis performs on three tracks, the first being "Tenderly." This song transports us to another time, largely through her vocal work. And who among us does not wish to leave our current time behind? Sam Dillon delivers excellent work on tenor saxophone, and this track begins to feel like an appealing dream. That's followed by another of Mark Miller's compositions, "Chorale And Alleluia," which has a captivating opening, a gathering of forces and characters. After a dramatic first section, this tune develops an engaging groove, and features some delicious work on drums. There is a wild energy to this track that we just want to immerse ourselves in, and then suddenly it pulls back and finds quieter moments. "WTF," despite its obnoxious title (I loathe abbreviations like "WTF" and "TGIF" and "OMG"), is a strong piece with a good deal of power behind it. It's an original composition by Mark Miller, and it features excellent work on saxophone and drums. Nicole Zuraitis returns for "Close Your Eyes," her vocals at first supported just by Noriko Ueda on bass. Such a cool opening. And the track builds from there, growing in power, never losing that sense of cool. "The Doubledown," composed by Mark Miller, has a soulful sound and vibe, and is another of the disc's highlights. It seems to be moving into night, when problems are set aside and perhaps even left behind. The album concludes with a total delight, "Nonsense," composed by Mark Miller and Nicole Zuraitis. Nicole sings on this one too. I especially love the lyrics, particularly these days when so many people are speaking gibberish, making up all kinds of stupid words. "You're talking nonsense/You're talking nonsense to me/All I hear is hogwash and gibberish/I don't know what you mean/Lunacy, absurdity/I do not understand the words coming out of your mouth/Because they're nonsense." I want to play this song for everyone who uses non-words like "mansplain," "incel," "staycation." "Honey, all I hear is blah blah blah blah." Indeed! Nicole's performance is fantastic, and the entire band seems to be having a good time. This song is a whole lot of fun. This album was released on August 29, 2025.

Kristen R. Bromley Quartet: "Wes 101" - Yes, the "Wes" in the title of guitarist Kristen R. Bromley's album Wes 101 is Wes Montgomery, and the music here (material composed by Kristen) is largely inspired by his work. The quartet is made up of Kristen R. Bromley on guitar, Melanie Shore on organ, David Ian Baker on bass, and Matt Coleman on drums. The album gets off to a fun start with "Bring It On," which has a delicious blues vibe, Kristen's guitar helping to dance the blues away. The guitar is hopping during that fantastic lead, and everything feels right with the world. Melanie's lead on organ keeps things moving, building in energy. Toward the end of the track, there is a cool section where David and Matt trade licks on bass and drums. Music like this helps us face the world. "Swing It For The Maestro" has a pleasant feel to it from the start, gently swinging. Here Melanie takes the first lead, establishing a bright and cheerful vibe. Kristen continues that sense with her lead, and this music ought to have even the most adamant of sourpusses smiling before long. It doesn't hit you over the head with joy, but just smoothly suggests that things don't have to be so bad. "Wes 101," the title track, was inspired by Wes Montgomery's "Four On Six," and has a delicious groove. Let that wonderful guitar work fall over you like a delightful spring shower and wash away whatever is frustrating you or holding you back. I would have loved it if that lead had gone on another four or five minutes, but Melanie's lead on organ delivers its own dance, its own light. And David's bass gets a chance to lead us into a cool place of its own design. And we're treated a drum solo before the end, so I am especially happy. I love the drumming throughout this track, and that solo has its own cool style. They slow things down then with "Cherished Moments," and we're suddenly immersed in memories of romance, or perhaps the romance of memories. The energy increases again on "House Of Fire," which has an immediate intensity, grabbing us. It is Melanie's lead that then opens things up a bit more, taking us on a ride. And things get even more interesting from there, while the delicious groove continues. Seriously, that guitar lead takes hold and becomes exciting. "Wahoo!" also has a wonderful groove, and encourages dancing. Despite the world's current troubles, put a dance in your step and shout out an appreciative "Wahoo!" to the skies. This track includes an energetic drum solo near the end. Kristen R. Bromley wraps things up with "Indy Blues," which begins with the organ promising something special. And as the groove takes over, Melanie continues to deliver excellent stuff on organ. This track becomes great fun. This album was released on April 18, 2025.

Kieran Brown: "Loving You" - Kieran Brown is a vocalist based in New York. Her debut album, Loving You, features excellent renditions of some standards, along with a couple of original compositions. She is backed by Tyler Henderson on piano, Joey Ranieri on bass, Joe Peri on drums, and Aaron Matson on guitar, along with several other musicians on various tracks. Kieran Brown did many of the arrangements. She opens the album with "You're Gonna Hear From Me," which begins tenderly, her voice supported just by piano. "Everyone tells me to know my place/But that ain't the way I play." And when the song kicks in, there is a joy to her delivery. And isn't that the way to approach this life, to approach any obstacles? The horns backing her on this track certainly seem to say so. Jarien Jamanila is on alto saxophone, Chris Lewis is on tenor saxophone, Tony Glausi is on trumpet, and Jacob Melsha is on trombone. "Listen, world, you can't ignore me/I've got a song that longs to be played." She delivers these lines without any trace of rancor, but with joy and confidence, this song setting a positive tone. She follows that with a wonderful rendition of "Do It Again." You can never go wrong with Gershwin, and Kieran makes everything right here. We feel the excitement and joy of a new intimacy in her voice, and the horn section again supports her on this one. A string section then begins her beautiful rendition of "Emily," with Isabella Geis on violin, Emma Richman on violin, Cameren Williams on viola, and Iona Batchelder on cello. The strings carry us away on a dream. It seems fitting then to follow that with "Meditation," the Jobim song, this rendition featuring a really nice lead by Chris Lewis on tenor saxophone. But it is Kieran's voice that transports us. Just listen to the way she sings "Yes, I love you so/And that for me is all I need to know" after that cool lead on piano. The first of two original compositions is "I'll Love You Just The Same," which has a warm, magical vibe as it starts. Kieran happily, dreamily hums before delivering the first lines: "Don't be shy, don't think twice, just love me/There are stars in your eyes, can't you see." And soon we too are caught up in the moment, in the emotion. The second original number is "Little Bits Of Magic," which has a cool vibe, in part because of that rhythm. Eytan Schillinger-Hyman plays electric bass on this track. "There's no one to guide me/Slowly on the verge of a breakdown/When the party's over/And the day is new/Then suddenly you're older/You cry on someone's shoulder/But there's little bits of magic everywhere." Kieran also delivers some scat on this track. That's followed by the album's title track. We believe her when she sings, "Loving you is not a choice/It's who I am." Nathan Farrell joins her on vocals for this one, and there is some wonderful blending of their voices. There is also a strong, vibrant lead on piano. Then I love how the bass supports her voice at the beginning of "Hallelujah, I Love Her So." This track is a delight, and features some fun scat, as well as a cool lead on bass. Kieran Brown wraps things up with a touching rendition of "Somewhere," featuring Iona Batchelder on cello. This album was released on July 11, 2025.

The Shirts: "Live" (2025) CD Review

It must have been something to be in New York in the 1970s and early 1980s, to be able to catch some of those great punk and new wave bands as they were starting out. The Shirts were one of the bands that played regularly at the famed CBGB, a band that, from all I've heard, was predominantly a live band. The real magic was in their concert performances. As a Grateful Dead fan, I know precisely what The Shirts fans are talking about. The Shirts put out their first album in 1978, and followed it with LPs in 1979 and 1980. And then that was it. At least as far as studio albums were concerned. The band focused on what it did best, live performances. Live was recorded at Hi-Five Studios in Manhattan in the spring of 1981. What is especially wonderful about this album is that it features material that was new at the time, songs that were not on the band's studio releases. The band is made up of Annie Golden on lead vocals; Arthur "Artie" Lamonica on guitar, keyboards and vocals; Ron Ardito on guitar and vocals; John Piccolo on keyboards and vocals; Robert "Bob" Racioppo on bass and vocals; and John "Zeeek" Criscione on drums, percussion and vocals. The album contains all original material, with five of the six members contributing songs. This release contains a good, informative liner notes booklet written by Roger Houdaille.

"Let it roll, baby," one of the band members calls out at the beginning of the first track, and the band launches into "Little Bit Of Action," which begins with a strong, steady beat. And, yes, you can feel the energy immediately. In this song, they sing, "All I wanted was a little bit of action." Well, they're delivering it here, more than a little bit. This track features some good stuff on guitar. "Little Bit Of Action" was written by Ron Ardito. The energy remains high on "Nancy," written by Robert Racioppo. One of the lines from this one that stands out is "I wasn't blind, there's nothing to see," and they repeat it later in the song. This is fantastic, and that instrumental section in the second half is especially delicious. If I could get a time machine, I always said I'd travel back to the late 1500s in London and watch Shakespeare's original stage productions. But my next stop would be New York in 1981 to catch this show.

Annie Golden introduces "Lost In A Rhyme," saying, "This song is also new." She delivers a great vocal performance. "Words come so easy when you're around." By the way, even if you are not familiar with this band, you likely know Annie Golden from her acting career. I think the first thing I saw her in was Milos Forman's film version of Hair. She had a part in Forever, Lulu, a movie that also stars Deborah Harry, and had a recurring role on Cheers, and, more recently, in Orange Is The New Black. "Lost In A Rhyme" was written by Artie Lamonica. "This is another new one," they tell the crowd, and go into "Don't Say Forever," one that begins more slowly. "You keep yourself up on the news/You gotta lot of nerve, and got no clues/It's better than before/'Cause you're standing by an open door." This one has a different vibe, and a certain beauty. It's a thoughtful number that puts us in a more reflective frame of mind. "And we could get through and get by."

The energy then increases again with "I Wanna Be A Rocker," a totally fun track that features some delicious drumming. The vocal work has a great rhythm to it too, particularly on the verses. Plus, the guitar work is excellent, certainly at least partially inspired by some of the early rock and roll greats. This one was written by Robert Racioppo and Ron Ardito. "This song is called 'Tears Comin' Down,' when things don't quite work out," Annie then tells the audience. There is a sweeter feel to the vocal work on this one, at least at the start. And the song still rocks, growing in power. "Tears comin' down, I'm growing up/You called my name, I called your bluff/Too bad we both were not enough." That's great. I love her vocal performance, as well as the backing vocals echoing "Growing up." And check out that bass work. This ends up being one of my personal favorites. By the way, I should mention here that the sound quality is excellent. And the bass at the beginning of "Boys Will Be Boys" is so damn good, and it, along with the drumming, works to get us excited. Oh yes, this track is a treat right from its start. It does kind of settle a bit after that opening section, but soon returns to it again. This one was written by John Piccolo and Annie Golden. 

The guitar starts "Laura's In The Lion's Den," and soon there is a solid beat. But it is when we get that great stuff on keys that the song really takes off for me. "She says no more, no more, no more." This song has a certain power, and I especially love when Annie belts out lines toward the end. That section is fantastic. This one was written by Arthur Lamonica. "This is a quiet song," the band warns the audience before "One Of The Masses." Check out the opening lines: "I'm one of the masses/I'm feeling so mass-produced/And it's Friday night." Those are good opening lines, and this song features some passionate vocal work. It was written by Robert Racioppo and Artie Lamonica. That's followed by "Love Don't Arrive." I love the interesting opening of this one. And there is an intensity to this song that keeps us engaged. It's a compelling and fascinating number written by Artie Lamonica.

"This song is as yet unrecorded as well," Annie tells the crowd when introducing "Whoever Thought." "I keep repeating myself. I must be excited." I know I mentioned this before, but the sound is so good on this recording that it easily takes the place of a studio album. And Annie delivers another powerful vocal performance here. "I know I'm not the only one/I know we have to brave the storm." There is also something catchy about this song. "This is a torch song for the 1980s," Annie says in introducing "Boomerang." Her vocal delivery is sexy, sometimes soft and sweet, sometimes with a tremendous energy. There are parts of this song that have something of a 1960s vibe, particularly in the work on keys at certain moments. This is another catchy number, with some cool work on drums. It was written by Robert Racioppo and Annie Golden. Then "Hangin' On A String" comes on strong, this great force moving in toward us. Then, as it kicks in, it becomes a delightful number featuring a delicious beat and certain pop elements. It's a fun number, written by Ron Ardito. "Okay, thanks for coming to our party," Annie says. "This is the way The Shirts say, 'Good night, ladies, good night, ladies.'" That way is with "Like A Satellite," a kick-ass song, with a fiery energy to Annie's vocals. "My patience is wearing thin/I'm taking it on the chin." What a great ending. The band thanks the audience for coming, and then offers this advice: "Okay, now everybody get drunk." Good advice, especially these days.

CD Track List

1. Little Bit Of Action
2. Nancy
3. Lost In A Rhyme
4. Don't Say Forever
5. I Wanna Be A Rocker
6. Tears Comin' Down
7. Boys Will Be Boys
8. Laura's In The Lion's Den
9. One Of The Masses
10. Love Don't Arrive
11. Whoever Thought
12. Boomerang
13. Hangin' On A String
14. Like A Satellite

Live was released on September 26, 2025 through Think Like A Key Music.  

The Riflebirds Of Portland: "April" (1989/2026) CD Review

In the late 1980s and very early 1990s, many albums were released only on cassette, which at the time was not a problem, because everyone not only had a cassette player as part of his or her home stereo, but most cars came with tape decks too. And let's not forget boom boxes. Cassettes were everywhere. Now, not so much. Since that time, a lot of those albums have gotten CD, and even vinyl, releases. Others have not. I'm still waiting for that sole Tree Full Of Crows album to come out on CD, as well as the first few Jim Infantino albums. Those are east coast artists. On the west coast, there was The Riflebirds, now known as The Riflebirds Of Portland. That group's 1989 album, April, was one of those cassette-only releases. And now, thirty-seven years later (holy moly, has that much time really passed?), it is getting a CD release (and a vinyl release). And it has been remastered by Sean Magee at Abbey Road Studios in London, with some post production work by Adam Pike at Sound Asylum in Pasadena. The album features mostly original material, along with one cover. The band is made up of Kate Oser on vocals, Lee Oser on bass and rhythm guitar, Kevin Kraft on lead guitar, and Kevin Jarvis on drums and percussion. There are several additional musicians playing on various tracks, including Michael Danner on keyboards.

The album opens with "Pieces Of Time," which begins with a beat. And then, as the other instruments and vocals come in, a dreamy aspect is created. "Maybe tomorrow/Maybe sometime/We'll fly a spaceship across the sky/And settle on a world somewhere/On which you are always near." The album's title is mentioned in the lyrics to this song: "Maybe in April/When flowers thrill/I'll meet you walking upon a hill." Those moments when the vocals take on more power are expecially striking. The great Phil Parlapiano plays accordion on this track, adding another delightful layer, and Kenny Edwards plays bass. This song was written by Lee Oser and Marvin Etzioni. It's followed by "Memory Street," which has a cool vibe from its start. "I always thought that I was the strong one/Pain was a word that would never find me." There is an interesting effect, with what seems like an extra beat or breath in a line, keeping us on our toes. This track features some really nice guitar work. Jerry Donahue is on lead guitar, and Marvin Etzioni (of Lone Justice) is on acoustic guitar. This song was written by Marvin Etzioni. By the way, Marvin produced the original release of this album, and then returned for this reimagined version.

"Dreaming Of A Kiss" was released as a single in 1986 (on vinyl). The version here, as listed, is an alternate mix. There is a delicious pop energy to this song, and this version features some excellent work by Skip Parente on fiddle, which works in a delightful contrast to that great guitar work. The combination of those two sounds is fantastic here. There is a strong vocal performance as well. It all adds up to something special, and this song is one of my favorite tracks. I love that vocal work at the end, which takes us into a different place, where desire moves beyond words. This song was written by Lee Oser. The band slows things down then with "Michael," a beautiful song. Interestingly, there is some vocal work at the beginning of this one, some pretty humming before the lyrics. "When I look into your eyes/I see the world go by/Like a cloud alone at the edge of the sky." Wow, what a gorgeous and moving vocal performance. "Take a hard look at the city between us/Nobody else could find you/As the day dims to evening/There are no angels singing." Greg Leisz joins the band on pedal steel, Jim Garafolo is on bass. This is a completely captivating song, another of my personal favorites. It was written by Lee Oser.

Kate Oser delivers another beautiful vocal performance on "The Rain," and Skip Parente lends his talent on fiddle to this track. "I'm ready for a change/The world is not the same/So I think that I could pray/For many rainy days." What, a band in Oregon singing about the rain? Crazy. I lived up there for five years, and it rained every day from September through April. Marvin Etzioni delivers some nice work on mandolin on this track. "I feel I could sleep/And not awake/But if something could grow/Like roots beneath the snow." This song was written by Lee Oser. There is then an interesting intensity to the pop sound at the beginning of "After Today." And it has a good opening line: "The last time we kissed I was thinking to myself, we're done." And it takes off from there. This song is a delight, featuring some good work on horns. Scott Schuerman plays trumpet, and Doug Weiselman plays the other horns and did the horn arrangement. "After today, it's gonna get better." Oh, I hope so. Listening to this music, I believe it. This wonderful song was written by Lee Oser and Marvin Etzioni.

The drum at the beginning of "All I Know" feels like it's announcing the commencement of some somber ritual, and then the acoustic guitar has a wonderful folk sound. This one also features a different vocal approach, Kate taking hold of us with the first line. "Tears won't shake me/Dreams won't wake me/Like you do." This music is really something special. I need to hear more from this band. The band reunited and released a new album last year, which is good news for people who love music. I hope I get the chance to see these guys perform. "All I Know" is followed by the album's sole cover, The Beatles' "And Your Bird Can Sing," which is actually a bit jarring when it starts, particularly after the beautiful spell created by the previous song. It's not that they don't do a good job with this song; they certainly do. It's some jangle pop bliss. Andrew Williams plays electric guitar on this track. I also really like the bass line. It's interesting that The Riflebirds Of Portland covered The Beatles and then were able to remaster the album at Abbey Road Studios. 

The album concludes with "Might As Well Stay," which was the flip side of the band's 1987 "On A Day Like This" single. The album version is a bit longer. It fades in, eases in, approaching gently. "We'll see how we feel when the sun comes up." There is something strangely soothing about the music, and then halfway through, it picks up in energy. "I thought I'd be walking on air/Thought I'd love you anywhere." This track contains a good bass line, which figures prominently. Marvin Etzioni plays bass on this one. I love how the song returns to a softer realm again in the second half. As it faded in, it fades out. This song was written by Lee Oser and Marvin Etzioni.

CD Track List

1. Pieces Of Time
2. Memory Street
3. Dreaming Of A Kiss (alternate mix)
4. Michael
5. The Rain
6. After Today
7. All I Know
8. And Your Bird Can Sing
9. Might As Well Stay

April was released on CD and vinyl on April 3, 2026.

The Blasters: "Hard Line" (1985/2026) CD Review

In February, two Blasters albums from the 1980s were re-issued: The Blasters and Hard Line. Both contain liner notes by Chris Morris, and the notes are particularly interesting with regards to Hard Line, the final Blasters studio album with the original lineup. Those notes of course include information on what led to Dave Alvin's departure, but also about how the John Mellencamp song was recorded after the album was essentially finished, something I didn't know. In addition to that song, there is one traditional number, but the rest of the tracks were written or co-written by Dave Alvin. The band is made up of Dave Alvin on lead guitar, Phil Alvin on vocals and guitar, Bill Bateman on drums, John Bazz on bass, and Gene Taylor on piano. There are also some guests on this album. This re-issue was produced by Antone DeSantis and Chris Morris.

The album opens with "Trouble Bound," which surpisingly begins with some beautiful a cappella vocal work, voices softly singing, "Trouble, trouble, trouble." You might think it was the beginning of a gospel number. That vocal work, by the way, is by the Jordinaires. "Well, I'm old enough to know the score," Phil then sings, and we are into a delicious rock and roll number. "Well, that's all right, I'm just here for the fun." There is plenty of fun here to be had, no question. The backing vocalists echo, "Trouble bound." They also deliver a nice "Mmm bop bop" part that adds to the song's charm and appeal. And in the second half, Dave delivers a good lead on guitar. That's followed by "Just Another Sunday." This one was written by Dave Alvin and John Doe (of X), and it has a different vibe, a different sound, feeling a little more serious. It also has an interesting beat. While much of The Blasters' music feels like it comes from an earlier time, this song has more of an 1980s flavor. They tell us, "And it's just another Sunday/In a small town motel," and then, "It's just another Sunday in hell." How can you not love that line?

The band then goes more into Cajun territory with "Hey, Girl," which features accordion. That's David Hidalgo (of Los Lobos), by the way. And yet it's still rock and roll, a Cajun sort of rock and roll. It's a whole lot of fun, and features some good stuff on guitar. And even while Phil sings, "Hey, girl, don't you stay gone long/Don't you keep me hanging on/I hope you're fakin'/My heart is breakin'/Girl, don't you stay gone long," the song has such a cheerful vibe. Things then get into bluesy territory at the beginning of "Dark Night," one of the album's coolest tracks. Yeah, it's heavier, but so damn good. Check out these opening lines: "Hot air hangs like a dead man/From a white oak tree/People sitting on porches/Thinking how things used to be/Dark night/It's a dark night." The repetition of the line "It's a dark night" drives the point home, and grabs us. We can't help but agree. And this song features a strong vocal performance. "I thought these things didn't matter anymore/I thought all that blood had been shed long ago/Dark night/It's a dark night." 

"Little Honey" was written by Dave Alvin and John Doe, yet has quite a different feel from "Just Another Sunday." There is a country vibe to this one from the start, with that great work on fiddle. That's Richard Greene, and his instrument plays a prominent role in this great track. "Little honey, it won't make me mad/If you tell me about a boyfriend that you had/Who lied last night, who made you sad/Who left you cryin' by the side of the road/Who left you cryin' to walk home all alone." The band then delivers a wonderful rendition of the traditional number "Samson And Delilah," this one featuring some excellent backing vocal work. It's quite a different approach from, say, how the Grateful Dead handled this song, in large part because of the backing vocals. And the guitar has a delicious, raw sound. It works so well.

"Colored Lights" is the song that John Cougar Mellencamp gave The Blasters. John Mellencamp's version would eventually be included on On The Rural Route 7609, a four-disc boxed set released in 2010. Interestingly, this version by The Blasters sounds more like what John Mellencamp sounded like in the 1980s; that drum beat at the beginning could easily be by Kenny Aronoff. "How do you talk to an angel?/I wish I knew/And when the room goes dark/They're going to turn on the colored lights." This song was also released as a single. It is followed by "Help You Dream," which is delightful from the start, with that wonderful backing vocal work. This track has an excellent mix of early rock and roll and country vibes, with a strong bass line. "'Cause you're the prettiest woman I think I've ever seen/And tonight if you let me I'd like to help you dream." I love that. And I love how later the woman kind of calls him out on his lines, "You should have been in movies/You say you haven't heard that in a while." This is one of my personal favorite tracks. It features some really nice stuff on piano.

The album takes another interesting turn with "Common Man," which has a bluesy edge and a catchy rhythm. These lines certainly strike us these days: "He says he's your friend/A friend of the common man/He's got all the answers/The good days will be back soon." Yikes! Things just don't change, do they? The problem is that there are too many stupid people who fall for this kind of crap every time. Who would have thought they'd fall for it from a supposed billionaire who continually bragged about being rich, a guy who clearly never worked a day in his life? But they did fall for it, over and over and over. I love the intensity of this song, and I love that guitar work. This is a song that should be played for all the fascist fools, but of course they won't get the message. The album concludes with "Rock And Roll Will Stand," a delicious rock and roll number, owing something to Chuck Berry. "Soon you'll have the biggest record in the land/Everybody knows rock and roll will stand." The piano lead here is bloody great. And, hey, even if you don't make it, the music will keep you going.

CD Track List

1. Trouble Bound
2. Just Another Sunday
3. Hey, Girl
4. Dark Night
5. Little Honey
6. Samson And Delilah
7. Colored Lights
8. Help You Dream
9. Common Man
10. Rock And Roll Will Stand

This special re-issue of Hard Line was released on February 6, 2026 through Liberation Hall.

The Blasters: "The Blasters" (1981/2026) CD Review

Record Store Day is almost here, and if you've perused the list as I have, or even casually glanced at it, certainly one of the releases that has you excited is The Blasters' Rare Blasts: Studio Outtakes And Movie Music 1979-1985. If you purchased the 5-LP boxed set An American Music Story last year (I had it in my hands, but sadly couldn't afford it), then you already have it. You also have The Blasters, the band's self-titled second album, along with the other studio albums the band released in that time period. The good news is that these individual albums are being re-issued on CD too. In February, Liberation Hall put out two special re-issues, The Blasters and Hard Line. The Blasters contains some of the band's most beloved tracks, including "Border Radio," and new (at the time) recordings of "Marie Marie" and "American Music" (both of which had been on the band's first LP). This re-issue was produced by Antone DeSantis and Chris Morris, and contains liner notes by Chris Morris, who wrote the liner notes for that boxed set, and they tell the story of the band in the early 1980s. The band is made up of Phil Alvin on vocals and guitar, Dave Alvin on lead guitar, John Bazz on bass, Bill Bateman on drums, and Gene Taylor on piano. The album contains a mix of original material written by Dave Alvin and some cool covers.

The album kicks off with "Marie Marie," a totally fun, rocking number that had been included on American Music and was re-recorded for this album. What a joy it is to hear the way Phil delivers the lines, "I said, hey, pretty girl/Don't you understand/I just want to be your loving man." The early 1980s were such an interesting time for music, with things going in several different directions. The Blasters were a breath of fresh air, keeping the origins of rock and roll alive and certainly kicking. That's followed by "No Other Girl," which has more of a rockabilly sound, with a delicious bass line and some great touches on drums that snap us to attention, as well as a fantastic vocal performance. "I don't know why I do it/Spend a day at another girl's place/She'll know that when I open the door/She can see by the look on my face." And Gene's lead on piano is just the kind of thing to keep us rocking and swinging, sort of following in Jerry Lee Lewis' footsteps, rocking those keys.

The band's cover of "I'm Shakin'" is one of the album's coolest numbers, the way it struts in, the band getting some help by the presence of sax. Lee Allen and Steve Berlin both play saxophone on this album. And Phil delivers a strong vocal performance. I love the quaver in his voice on the title line, "And I'm shakin'." This song was written by Rudy Toombs, and was a hit for Little Willie John in 1960. "Early in the morning time/Late in the middle of the night/Whenever this chill comes over me/I want to hug you with all of my might/And I'm sweatin'." Oh yes, we can hear it in his voice, while the music maintains a sense of cool. Then "Border Radio" is delicious from that opening on guitar, and totally catchy. "She prays to herself that wherever he is/He's listening to the border radio/This song comes from 1962/Dedicated to a man who's gone." This music fits in with that great early rock and roll. As you are probably aware, this song inspired the 1987 film Border Radio. 

"American Music" is another lively gem. This one was also included on the band's first album, and re-recorded for this album. I love that lead on guitar. Totally delicious! Patriotism is silly, but if there is anything that should make you proud of this country, it is certainly the music. And this song provides a reminder of just how good it is, both through its lyrics and the music itself. The band keeps the energy high with "So Long Baby Goodbye." This one features some totally satisfying work on saxophone. Plus, this one features Phil Alvin delivering some good stuff on harmonica. Everything is feeling right. Then "Hollywood Bed" has a delicious New Orleans vibe, with some wonderful stuff on piano right from the start. And that beat! Go ahead, try to remain completely still while listening to this song. Good luck. This one also features some wonderful stuff on saxophone. "Lift up the shade, let's see the lights/We came this far, honey, let's see the sights/Hold me close, don't try to fight/Let's work up a sweat on a summer night/Hey, rocking in our Hollywood bed." Yeah, everything about this track is fun. And that lead on sax is kind of sexy. "Wasting our time, but it sure feels good." It sure does!

The band then gets into country with a cover of Jimmie Rodgers' "Never No More Blues" (usually listed as "Never No Mo' Blues"), with that wonderful country flavor to the music. Phil puts that into his vocal performance too, as we hear on the song's very first line, "I'm just blue as I can be." And, yeah, there is some yodeling, and he totally sells in. This is a fun rendition. It's followed by "This Is It," a great rock and roll gem. "I can tell your future/By looking at the highway sign/There's something that we'll never know/Unless we get up and go/This is it now, baby/We're going to have a time tonight/This is it, this is it." It's a song that encourages us to enjoy ourselves, enjoy our time. This is it, folks. This track features a nice lead on piano, and then an energetic lead on guitar.

The band then turns to the blues with a cover of "Highway 61," a track that contains some great stuff on harmonica and a strong vocal performance. A cool, mean sound. The band stays in the blues realm with a cover of Bo Diddley's "I Love You So." This one comes barrelling along, like a rockin' train that might have taken just a bit of some psychedelic. Most of the energy comes from Phil's vocals. "In the morning, she's all right/In the evening, she's still all right." I love the way it is building toward the end, and it seems a shame to let it fade out like that. Don't you want more? I certainly do. The album concludes with a cover of Bob Ehret's "Stop The Clock." "We've got to stop the clock, baby/I want to spend more time with you." Oh yes, I think we're all in touch with that. Time is moving much too quickly, and too much of our time is wasted by all sort of obligations and nonsense. What does any of it mean? Spend more time with the people you love, and with the music you love, because, as we already established, this is it, folks.

CD Track List

1. Marie Marie
2. No Other Girl
3. I'm Shakin'
4. Border Radio
5. American Music
6. So Long Baby Goodbye
7. Hollywood Bed
8. Never No More Blues
9. This Is It
10. Highway 61
11. I Love You So
12. Stop The Clock

This special re-issue of The Blasters was released on February 6, 2026 through Liberation Hall.

Brief Notes On New Jazz Releases

Part of me applauds those who are in the streets fighting for democracy; part of me finds the whole thing pointless, because democracy is already dead, and justice has ceased to exist in this country. A man is convicted of thirty-four felonies and, instead of serving time in prison, he becomes the president. That really marked the end of the whole game, as far as I'm concerned. But while politics and the courts have completely failed us, music continues to shine a bright light. This is where the best parts of humanity still reside. The rest is just noise. Here are notes on a few new jazz albums you might want to check out.

Cyger & Butterworth: "Plaid Pants" - Cyger & Butterworth is the duo of Ron Cyger on saxophone and flute and Brent Butterworth on bass, guitar and ukulele. On Plaid Pants, they are joined by three different percussionists on various tracks. Though on the first track, "Pequena Diabla," Brent Butterworth delivers the percussion, and his work actually begins the track, setting a kind of fun, cool tone that invites us to a somewhat exotic dance. Soon the saxophone comes in and straight away sweeps us up in its easygoing, suave style, subtly suggesting some mischief. Let go and let the music carry you to a distant locale, away from current concerns. This track also features a wonderful bass line and some delicious work on guitar. Ron Cyger composed this one. He also composed "Round & Round," which follows it and features a cool bass line by Brent Butterworth. There is a sense of fun about this one, and the saxophone work suggests these guys know the angles and just where to go for whatever it is you desire. Dimitris Terpizis is on drums, creating a fantastic groove. Everything feels just right, and that lead on bass reminds us of just how good this life can be. There is just no reason not to immerse yourself in the world of this music. Dimitris Terpizis also plays drums on "Clunky," composed by Brent Butterworth, who begins it with a bass line that has a strong sense of character about it. I'm reminded of certain comedic detective films of the past. Ron's flute certainly adds to that vibe, to wonderful effect. And I love that guitar lead in the middle. Around that time, Ron switches from flute to saxophone, and somehow the song gets even cooler. I want to write a screenplay based on this song. That's followed by the album's title track, composed by Ron Cyger, which has a light, fun vibe. There is a good deal of cheer here, particularly in Ron's work on saxophone. I also like the surprising pause early on and the changes. There is a cool section with bass and drums. That's Leo Oliveira on drums on this one, and he delivers a delightful solo toward the end. Then in "Poydras St.," I love how the saxophone and guitar work together. The percussion plays an important role in this one as well. Dimitris Terpizis is on drums. There is a brief moment near the end that reminds me of a moment in Queen's "Crazy Little Thing Called Love." They change gears then at the beginning of "Larry's Lament," which opens with a lonesome saxophone. It is surprising then when the tune kicks in and starts to swing. Then there is something beautiful and sad about "Bye-Bye Blue Whale," which features some moving work on saxophone, and a really good guitar lead. They wrap things up with "LP," a fun number that contains some great stuff on guitar and lively work on saxophone. Dimitris Terpizis is on drums, and Larry Salzman is on bongos for this one, and there is a delicious section with just percussion and bass in the second half. This album was released on March 13, 2026.

The Flying Horse Big Band: "Unbridled: The Flying Horse Big Band Meets George Garzone" - Tenor saxophone player George Garzone, member of the jazz trio The Fringe, joins The Flying Horse Big Band on four tracks of Unbridled, including the opening track, "Giant Steps," the first of two John Coltrane compositions performed here. It isn't long before this rendition is hopping, and, as you'd expect, there is a lot of great saxophone work here. In addition, Max Terechenok's work on drums is fantastic, and there is some seriously good stuff by Carlos Barreto on bass. This track is cruising, and then it's suddenly over. George Garzone also plays on "Pharaoh's Daughter," which follows. This is an original composition by Jeff Rupert, the band's director. There is a brief breath after the opening section, and then the bass takes the piece in a cool direction, kind of strutting in. And that's when the brass section really begins to shine. I love the whole character of this song, the whole vibe. There is certainly something dramatic about this piece, and at times it feels like we are on an exciting ride. And before the end, we're treated to a drum solo by Jamesly Jean-Mary. "Chasin' Tail," another original composition by Jeff Rupert, comes in at a fast clip, this one racing along with a sense of fun, a sense of joy. Just see if you can keep from smiling while listening to this track. And though George Garzone is not on this one, there is still plenty of great saxophone work, especially by Edmund "Quint" Johnson V. Jamesly delivers some excellent drumming here. George Garzone returns then for "Reflections," written by Lalo Schifrin, a softer, more contemplative number, the saxophone both reaching inward and out. It's a beautiful track. It's followed by "It Gets Better," the disc's final original composition, which has a positive bent without being euphoric. It is hopeful, while being somewhat grounded as well. "View Of Heaven" features some gentle, pretty work by Daniel Tenbusch on piano, then builds from there, turning our eyes and thoughts skyward, and seeming to lift our entire bodies at the same time. The piano lead in the middle takes the track back to a more intimate level. The album concludes with its second John Coltrane number, "Impressions," with George Garzone again on tenor saxophone. This is an exciting track right from its start, and features some excellent drumming by Clarence Penn. Richard Drexler delivers a hopping piano lead. And the work out saxophone is outstanding. What a great way to wrap things up. This album was released on October 24, 2025.

Isabella Isherwood: "The Sweetest Sounds" - I was listening to this album for a while before learning that it is the debut release from vocalist and pianist Isabella Isherwood, something that surprised me. It seems like the work of someone who has at least a few albums under her belt. Anyway, she chooses a mix of standards along with some more recent pop fare. Joining her on this album are Mike Allemana on guitar, Joe Policastro on bass, and Alejandro Salazar on drums. She opens the album with "Devil May Care," providing a little vocal work right from the opening before starting the lyrics, making her presence known and appreciated immediately. But her phrasing and delivery of the lyrics are what make this rendition so special. That's not all that stands out here, however. That lead on guitar is excellent, and I love the drumming beneath it. It's a fantastic start to the album, and is followed by the album's title track, the Richard Rodgers song, which features some cool work on bass at the start. What's remarkable is how different her vocal approach is here, and how right her choices are, some early lines delivered with a dusky quality, before she begins to raise her voice. She then gets rather playful in her rendition of "Till There Was You," her voice backed by some excellent drumming. That's followed by an interesting choice, Bob Dylan's "Don't Think Twice, It's All Right," which has a relaxed vibe at the beginning, and features some good work on guitar. Though this rendition is a bit slow, it grows in passion. We can hear the importance of the words, the need for getting across the message, in her delivery, and it soon becomes a captivating take on the song. "My Buddy" is another track that stands out, Isabella opening it with some pretty work on piano, and soon adding a beautiful and touching vocal performance. No other instruments are needed on this intimate rendition. Then "The Song Is You" has a delicious energy and features a great drum solo. Isabella's rendition of Amy Winehouse's "Love Is A Losing Game" finds her backing herself on piano for the first minute or so, before the other musicians come in. This track features another excellent and varied vocal performance, as well as some good work on piano. This album also contains a compelling rendition of "'Round Midnight," Isabella's voice supported just by bass. "Every day is gonna bring some sadness," she tells us, and there is both authority and experience in her delivery, so that no argument can be offered. This track features some cool changes, and is another highlight. Isabella Isherwood wraps things up with a cheerful number, "I Love Being Here With You." This album was released on April 3, 2026.

Francesca Prihasti: "Beneath The Sun" - Francesca Prihasti is a pianist and composer from Indonesia and now based in New York. Her new album, Beneath The Sun, features all original material. Joining her on this disc are Nic Vardanega on guitar, Drew Gress on bass, Mark Ferber on drums, and Nick Brust on saxophone. As "In Between" opens it feels like it is already in the action. Something is happening, something has been decided. It does soon relax a bit, and the piano work takes on its own beauty. This track also features a excellent lead on guitar early on, a lead that is given the space to grow before Francesca takes over again on piano, her lead having both beauty and certainty. It is the final section that is most interesting to me, for there is an intensity while also becoming softer. That's followed by the album's title track, which has a somewhat magical and mysterious vibe at the start, and features some wonderful work on bass. Francesca is on electric piano for this one. The piece soon takes on a soothing feel, while retaining some of that magic. It's interesting that while the track has a somewhat relaxing effect, the drumming has a good energy. There is some tension at the beginning of "Reason And Will," as if the piano is expressing two opposing thoughts, wishing to go in two directions. Some common ground is quickly found and explored, and then there is more joy, though that opening section returns briefly at times. There is some wonderful work on piano, and I am especially fond of the drumming on this track. Interestingly, toward the end, when the drumming feels more unleashed, it seems that one of the two forces has won. "Leura" then is pretty, gentle, warm and welcoming. A place without tension is created here, a place we could all stand to visit. Partway through, we are treated to a lively bass lead. And Francesca's piano work feels like sunlight and a spring breeze dancing about the air. Francesca again switches to electric piano for "Till We Have Faces," and here is joined by Nick Brust on saxophone, who delivers some excellent, expressive work. The song was inspired by the time of the pandemic, when our faces were largely covered with masks and communication was thus made difficult. We had to show what we felt through our eyes. I remember that humor was more difficult to get across then. "Unanswered Questions" begins on drums, and it is somewhat surprising that when the piano comes in, the piece takes on a somewhat soothing quality. Ah, I wonder if most questions will remain unanswered, and we just have to accept that and continue with our lives. The music seems to urge us to do so, especially when it begins to pick up energy partway through. And then "Fortitude," the final track, urges us to remain strong even when things are chaotic or tense. This track features the saxophone, which feels like the voice rising against the powers that be while simultaneously encouraging our own inner strength. This album was released on January 16, 2026.

Tierney Sutton and Tamir Hendelman: "Spring" - Vocalist Tierney Sutton and pianist Tamir Hendelman give us an album of songs for spring, including several with the word "spring" in the title. It is traditionally a time for renewal, and certainly we need that now. The world is aching for it. The duo opens the album with two pieces by Antonio Carlos Jobim - "Double Rainbow" and "Waters Of March." "Double Rainbow" begins with some beautiful work on piano that makes us feel like the world is waking up, opening its eyes. And, what's more, seeing something worthy of song, of celebration. Tierney's vocal work then adds to that sense, like she is reacting to the beauty, at first without actual words, and then with lyrics. Then it is like her voice is dancing, the world opening before her (and so before us too). Tierney begins "Waters Of March" with some playful, light vocal work, and the piano soon joins her in that vibe, like drops of rain bouncing off flowers. Tierney delivers the first several lines a cappella. Soon there is more force to the piano work, and to her delivery, and the song develops an absolutely wonderful tone. Tierney and Tamir then give us a pretty rendition of Simon & Garfunkel's "April Come She Will," the vocals have a soothing effect. The track is one of meditation and reflection, and of great beauty. That's followed by "'S Wonderful." As you know, you can never go wrong with Gershwin, but when I first read the track list, I wondered which lines of this song were directly related to spring. But as the track begins, there is a spoken word introduction by Tierney, in which she says, "Now this song has a little bit of an added lyric that I just wrote today, because it has to have something to do with spring." Soon she sings, "You always bring/A breath of spring/In everything you do/An April breeze/That moves the trees/My heart agrees it's you." As for the songs with the word "spring" in the title, they all come in the second half of the album, one after another. The first is "Spring," written by Dori Caymmi and Tracy Mann. Tierney and Tamir deliver a beautiful, tender rendition. "The possibility of warmer days/Will arrive with the news/You still love me." This track also features some delightful stuff on piano. That's followed by a wonderful rendition of "Spring Can Really Hang You Up The Most," featuring some strong work on piano. "Spring came along/A season of song/Full of sweet promise/But something went wrong." Then they give us a lively version of "Spring Will Be A Little Late This Year," cheering us, the music making us hopeful. Tierney begins "Spring, Spring, Spring" a cappella, delivering some delightful vocal work. I am especially fond of her playful performance on this track. The final song in that "spring" series is "You Must Believe In Spring," with a performance that feels intimate, a performance that touches us in these strange days. Just listen to the way Tierney sings, "You must believe in love and trust it's on its way/Just as the sleeping rose awaits the kiss of May." This album was released on April 3, 2026.

The Secret Lives Of Bill Bartell Blu-ray Review

There are some wild stories in the music world, and the story of Bill Bartell is certainly one of the wildest. From the moment the documentary The Secret Lives Of Bill Bartell opens with a closeup shot of Bill while an unseen person repeatedly calls his name, it is clear this movie is going to be an unusual and wild ride. For those who are not familiar with Bill Bartell, he was in the band White Flag and was founder of Gasatanka Records (those beginning as humorous plays on Black Flag and Casablanca Records). But that is just the tiniest bit of it. At the beginning of the film, we hear various folks describe him, and someone says, "Bill ends up in these very funny situations where he changes musical history from the background and nobody even realizes that it's happening." And the film goes on to back that statement up with all sorts of delightful examples. So, again, if you are not familiar with Bill Partell, he probably still has had some effect on your life. This movie demonstrates how.

The movie contains interviews with lots of musicians that knew Bill, that worked with him in one way or other, including members of White Flag, The Melvins, Redd Kross, The Muffs, The Germs, Camper Van Beethoven, Generation X, Os Mutantes and Black Flag. And the stories they tell are fascinating and often very funny. Early in the film, it is established how Bill Bartell seemed to always be in the action. There is footage of him in the front row of punk shows when he was a teenager, and footage of him catching a Devo sign on stage at a concert. He is even spotted in The Decline Of Western Civilization. And from there, he just always seemed able to be where he wanted to be, showing up in so many different scenes and easily working his way into many different groups, to the point where he is referred to as the punk rock Zelig. And though he was important in the punk scene, his musical tastes extended far outside that realm. Jeff McDonald (of Redd Kross) talks about bonding with Bill because they both admitted to liking the band Kiss. And several of the people interviewed comment on how he did not look like a punk rocker at all. In addition to that, his band would sometimes cover straight rock songs, confusing the audience. This is when punk had a sense of humor, when it did not take itself too seriously. As several people note in the film, Bill Bartell out-punked the punks. 

There is a lot of humor to this story. The film contains some hilarious stuff about whether White Flag was a real band or not, and how the name was a play on Black Flag, with the logo being Black Flag's logo laid on its side. Dez Cadena (of Black Flag) says, "Bill Bartell was a really good guitar player, but you couldn't tell if he was serious or if it really was a joke." And that was only a small part of the strange mystery surrounding this guy. "No one knows how he made money," someone points out early in the film, regarding the way he would fly to various places to catch concerts and then later book White Flag for a European tour. Apparently at one point he became a substitute teacher, using the name Pat McPherson, bragging to other punk musicians that he was giving the students false information. This made me burst out laughing. How punk rock is that? Going into a school as a subsitute teacher and presenting all sorts of false information as facts. It's a shame that a few of his students weren't interviewed for the film. And then there is the whole thing of Bill becoming a cop. And there is the matter of riding bulls too. Seriously.

But for me it's the music stories that are the most interesting. The Generation X story is particularly crazy and delightful, about Bill getting the manager of Kiss to manage that band, and how when Generation X broke up, Bill took Billy Idol from the band to help make him famous. Bill was also responsible for getting Os Mutantes known in the United States. Seriously. If you're a fan of Os Mutantes (and you absolutely should be), you kind of owe it to Bill. He also promoted Shonen Knife. The stuff about the band Sator is also crazy. But perhaps my favorite bit is the story of his band Tator Totz playing BeatleFest in 1988 and covering a Yoko Ono song. I love the great punk humor of doing that. They even made a reference to John and Yoko's "bagism." The footage is fantastic. Look, I love The Beatles, but to hell with all those Beatles fans at that concert that couldn't see the humor and couldn't find pleasure in that performance. 

So, as you perhaps gathered, Bill Bartell's story isn't one crazy story, but many crazy stories. And it took many different people telling these stories, because Bill was apparently particularly adept at compartmentalizing, and so each person in his life was only privy to certain bits of information. So film director David Markey had a lot of work to do in piecing it all together. And though there is a lot of humor to this tale, there is a sad story running underneath the entire thing, the fact that Bill Bartell felt he couldn't tell his friends the truth of his sexuality (though they mostly all knew it anyway), and so this is also a story of loneliness, a story with a sad ending. 

Special Features

The Blu-ray contains a lot of bonus footage, including more from interviews with Sergio Dias and Ave Cope, about Kurt Cobain getting into Os Mutantes because of Bill. There is also more with Jim Laspesa, Dez Cadena and Jennifer Schwartz. It's surprising that this was cut from the final film, because there is some fantastic stuff here, like about the recording of the first White Flag record and the anecdote about the Redd Kross recording. Also, the stuff about his band Chariot is hilarious. That bonus footage totals approximately forty-six minutes. Also included is footage of the Q&A from the Slamdance screening of the film, featuring director David Markey and producer Brian Kehew. In this Q&A, we learn that the opening sequence was shot in 1994, and was the director's first attempt at interviewing Bill Bartell. Also, the director is in the film for a moment. He's the guy who puts the Tator Totz singer in the bag during that fantastic performance of the Yoko Ono song. Some other folks who appear in the movie were in the room for the screening, but there was only one camera, which was set up for a static shot, so we don't see them, only hear them. This Q&A is approximately sixteen minutes. The special features also include the film's trailer.

The Secret Lives Of Bill Bartell was released on Blu-ray on February 24, 2026 through MVD Visual.