As we approach the midterm elections with some
trepidation, the polls giving us hope and then just as quickly removing it,
leaving us with the feeling that things are just going to get worse, that this
country will never emerge from the ugliness and stupidity represented by
creatures like Marjorie Peach Tree Dish Greene and Ted Cruz,
musicians pull us in the other direction, giving us signs that humanity’s
better qualities are still shining, can still determine the course of things.
Ah, if only musicians would run for office. I voted for Bill Clinton mainly
because I got to see him play saxophone. Here are brief notes on a few new jazz
releases you might be interested in checking out.
Nica Carrington:
“Times Like These” – The debut full-length release from vocalist Nica
Carrington contains some excellent standards that she learned from listening to
her father’s record collection while growing up. Recorded during the pandemic,
these songs speak to the brevity and beauty of life, with all its longing and
loss and joy. Joining her on this release are John Proulx on piano, Chuck
Berghofer on bass, and Joe LaBarbera on drums. The album opens with a warm,
soulful rendition of “Skylark,” with some gentle work from the musicians, and a
vulnerable quality to her voice. “
But my
heart is riding on your wings/So if you see them anywhere/Won’t you lead me
there.” She follows that with “Left Alone,” asking, “
Where’s the love that’s made to fill my heart?/Where’s the one from
whom I’ll never part?” There is strength in her voice, and a hint of
attitude, so even though she may be alone, we get the sense she’s going to be
all right. Then Nica Carrington delivers a beautiful performance of “When Sunny
Gets Blue,” keeping to a similar theme. “
Love
is gone, so what can matter?” she asks here. That’s followed by a soulful
and beautiful rendering of Cole Porter’s “Ev’ry Time We Say Goodbye.” The
opening lines of “We’ll Be Together Again” are striking in these strange times:
“
Here in a moment of darkness/Remember
the sun has shone/Laugh and the world will laugh with you/Cry and you cry alone.”
It does sometimes feel like we are stuck in a dark moment that has no end, and
though there is a sadness to this song, it is ultimately hopeful, and that is
exactly the feeling of this moment. Nica Carrington does a wonderful job with
this song, and I love that light piano work. That’s followed by a gorgeous
version of “The Summer Knows.” One of the album’s best vocal performances is
that on “Angel Eyes.” There is something sexy about this rendition, and in
addition to a great vocal performance, this track features some wonderful work
on piano. And she leaves us with “Here’s To Life,” another perfect choice for
these difficult times. “
No complaints and
no regrets/I still believe in chasing dreams and placing bets/For I have
learned that all you give is all you get/So you give it all you got.” She
gives us an earnest, passionate and warm rendition, just what we need. This
album was released on September 23, 2022.
Leticia Walker:
“Lit From Within” – Vocalist Leticia Walker’s new album is gospel jazz,
featuring mostly covers. But it opens with a couple of original compositions.
The first is the title track, which is a positive and bright burst of funky
gospel designed to raise your spirits and keep you going. “
Let your light shine/Forget where you’ve been/Lord knows we’re lit from
within.” Some elements, like those great backing vocals, have a 1970s disco
vibe. There is some wonderful stuff from the horn section, and an exciting,
though short, lead on electric guitar in the second half. The band on this
track is somewhat different from the rest of the album, and is made up of Steve
Jankowski on trumpet and trombone, Marc Ribler on guitar, Demetrios Pappas on
keys, Anthony Senatore on bass, Tom Cottone on drums, and Doug DeHays on tenor
and baritone saxophone. The backing vocalists are Kimberly Davis, Audrey
Martells and Deb Lyons. That track is followed by “This I Know For Sure,”
written by Leticia Walker and Jayson Simpson. This one has a mellower, smoother
vibe. Its opening lines are certainly relevant to most of us: “
Waiting for the sun to peek/Through the
clouds/Waiting for this hectic life/To calm down/Sorting out the pieces/Of my
past/The world is spinning crazy/Way too fast.” That describes basically where
most of us are in our lives today. This song too has a positive bent, expressed
in lines like “
And this I know for
sure/Love will save the day” and “
Every
day is a gift.” It’s often difficult to keep that in mind, but songs like
this do help. The band on this track and the rest of the album is made up of
Aaron Graves on piano and organ; Steve Beskrone on bass; Leon Jordan on drums;
Richard Tucker on guitar; Doug DeHays on alto saxophone, tenor saxophone,
baritone saxophone and flute; and Steve Jankowski on trumpet, flugelhorn,
trombone and percussion. The backing vocalists are the same as on the opening
track. Leticia Walker then delivers a beautiful rendition of “Speak To Me,” a
song in which she asks for guidance, and expresses a need for truth and comfort.
I like how her vocals grow in power and confidence as the track progresses. That’s
followed by “Better Than Anything,” which is fun and features some good work on
drums. “Prayer Of St. Frances” includes some fantastic backing vocal work.
Another of the disc’s highlights is her cover of Bruce Springsteen’s “My City
Of Ruins,” which features some really nice work on keys, and more excellent
backing vocal work. Then Deb Lyons, one of the talented backing vocalists,
joins Leticia Walker on lead vocals for a duet of “Happy Days/Get Happy,”
another of the disc’s best tracks. The album concludes with a rousing rendition
of “Jesus Is Mine.” This album was released on August 1, 2022.
– Trombonist and
band leader Scott Whitfield explores his interest in film music on this new
album, his jazz orchestra covering the music of such composers as Elmer
Bernstein, Henry Mancini, John Williams and Bernard Herrmann. The album opens
with the theme from
The Magnificent Seven,
which features some good work by Kendall Kay on drums right away. That initial
section builds in intensity, until it suddenly gives way to a cool, kind of
swinging part, with strange little touches from the horn section. This is a
spirited and exciting track. Scott Whitfield then takes the group in a
different direction with “Sally’s Tomato,” music written by Henry Mancini for
Breakfast At Tiffany’s. This track
features guest percussionist Brad Dutz, plus some cool work by Jennifer Leitham
on bass. And while this piece largely has a mellower vibe, there are still hints
of intrigue and excitement. Then guest Pete Christlieb joins the band on tenor
saxophone on “Entre’Act/First Love Theme” from
Cleopatra, delivering some fantastic work. It is so easy to get caught
up in this music, swept up by the grandness of certain sections, and then drawn
in by its more intimate moments. Somehow I’ve gotten this far in life without
seeing
Gone With The Wind, but if the
film is as good as the music on this disc, then I really should make a point of
watching it. From that movie, Scott Whitfield Jazz Orchestra West performs “Tara’s
Theme,” and as it progresses, there is a great joy to the playing. But the
track that is the most fun and liveliest is the theme to
The Pawnbroker, composed by Quincy Jones. It is a treat, and
features guest Rickey Woodard on tenor saxophone. The first soundtrack I ever
got was that to
Star Wars (I was five
years old), and The Scott Whitfield Jazz Orchestra takes me back to my
childhood by delivering some of
Star Wars
music here, presenting it in a way I hadn’t heard before, and including a drum
solo to make me even happier. If you’re a film fan, then you are an Alfred
Hitchcock fan, and The Scott Whitfield Jazz Orchestra West performs music from
two of his films. The first is the theme from
Spellbound, with the vocals, which are performed by Scott Whitfield.
This track also features a cool lead on bass. The second is the theme from
North By Northwest, composed by Bernard
Herrmann, and this piece takes off immediately, the drums propelling it. And
then it just grows from there, becoming delightfully intense. A great piece to
close the disc. This album was released on August 19, 2022.
Judy Whitmore:
“Isn’t It Romantic” – Vocalist Judy Whitmore tackles some of the great
standards on her new album,
Isn’t It
Romantic. Joining her on this release are Tamir Hendelman on piano, Alex
Frank on bass, Dean Koba on drums, Brian Kilgore on percussion, Rickey Woodard
on saxophone, Mitchell Long on acoustic guitar, Lori Bell on flute, Larry
Koonse on electric guitar, and Mike Rocha on trumpet. The album opens with “It
Could Happen To You,” Judy Whitmore’s vocal performance bright and cheerful.
This track also features some excellent and lively work on piano. She follows
that with “I Remember You,” featuring pretty work by Lori Bell on flute, and a
warm lead on piano. One of my personal favorites is “You Go To My Head,” from
that initial saxophone part to Judy Whitmore’s gorgeous vocal delivery. Ah,
romance is still alive, and when she sings “
You
intoxicate my soul with your eyes,” we can hear the truth of it in the
breathiness of the word “
intoxicate.”
It is like she loses a bit of control in that moment, for that person has truly
gone to her head. Plus, this track features an excellent sax lead in the second
half. Another of the disc’s highlights is “The Birth Of The Blues,” on which
Peisha McPhee joins Judy Whitmore on vocals, the two delivering some wonderful
work. Mike Rocha’s work on trumpet is another element that helps make this
track stand out. I particularly love that moment when it bursts up to another
level, completely unbridled and excited. This is a fantastic track from
beginning to end. Then “Speak Low” features some really nice work on both flute
and piano. There is something dramatic about her vocal approach to the album’s
title track, and I love the way the saxophone supports her, engages in the
dance with her. And that bass line is delicious. Then in the middle, the piano
and saxophone have their own delightful moment. “Just A Little Lovin’” is yet
another highlight, in part because of the song’s message. “
This old world/Wouldn’t be half as bad/It wouldn’t be half as sad/If
each and everybody in it had/Just a little lovin’/Early in the morning.” Absolutely.
Imagine if everyone started the day with a little loving. Well, if you can’t
manage that, at least try listening to some good music before facing the world.
This track features some nice work on electric guitar, and Stephan Oberhoff on
backing vocals. The album wraps up with a totally enjoyable rendition of
“Hallelujah I Love Her So,” here “Hallelujah I Love Him So.” Judy Whitmore is
clearly having a good time with this one. This album was released on September
14, 2022.
Jim Witzel:
“Feelin’ It” – Jazz guitarist and composer Jim Witzel delivers a
combination of covers and original material on this album. Most tracks feature
the trio of Witzel, Brian Ho on organ, and Jason Lewis on drums. A few tracks
also include Dann Zinn on tenor saxophone. The album opens with its title
track, one of the three tracks to feature Zinn on saxophone. And immediately
I’m feeling it, because of that delicious groove. There is some swing here, and
a good deal of joy, as the musicians move things forward. Jim Witzel gives us
an excellent lead on guitar, and that rhythm beneath his playing might have you
snapping your fingers. Dann Zinn’s sax lead then swirls and spirals upward, and
things remain in motion as Brian Ho takes over on organ, delivering some
wonderful stuff. This is a strong opening track, with a good vibe about it. Then
Jason Lewis gets the trio’s rendition of “Softly, As In A Morning Sunrise”
moving, this version swinging and pulsing at a good rate, the organ leading the
charge. This track also features some lively guitar work, and some brief, but
exciting drum solos. This one too feels like it is about movement, and it comes
as some surprise when the track begins to fade out. The trio changes gears with
a rendition of The Beatles’ “Norwegian Wood” that has a rather dreamy quality
at first, then grows in power, particularly during that organ lead. It is interesting
then when the organ and guitar come together toward the end to deliver what
would be the vocal line. Dann Zinn returns on saxophone for the original
composition, “Beyond Beijing,” which expresses a light joy. I particularly like
the rhythm of this piece. Jim Witzel follows that with an unusual rendition of
“I Loves Your, Porgy” where he plays two guitar parts, and is unaccompanied.
I’ve said it many times, but you can never go wrong with Gershwin. The final of
the album’s original compositions is “Ms. Information,” a title similar to
Sugaray Rayford’s “Miss Information” and Jim Infantino’s “Little Miss
Communication.” This is also the third track to feature Dann Zinn on saxophone,
so Zinn plays on all the original compositions. It is one of the album’s most
interesting tracks, and features some excellent work on drums. This album was
released on September 30, 2022.
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