Brief Notes On New Jazz Releases

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

CeCe Gable: “Love On The Tyrrhenian” – Vocalist and composer CeCe Gable’s new album features most covers, along with a couple of original compositions. It opens with one of the original numbers, the album’s title track, which CeCe Gable wrote with Corky Brumble. This track has a strong rhythm, and it takes us to a different time and place, as she sings in the song’s first line, “Once upon a summertime when we were young and free.” From her delivery, it doesn’t seem all that long ago, and least not in her mind, her heart. “Two lovers walking hand in hand, with no one else to please/As we sail into the world with all these memories.” It’s the kind of scene we all imagine for ourselves, isn’t it? Scenes we wish we had in our past, or, even better, in our near future. The music makes it feel possible. CeCe Gable keeps us in that general area of the world with “The Riviera,” a song originally recorded by Mabel Mercer and also by Blossom Dearie. She conveys the excitement and romance of the place with her vocal approach. And I love that little “Ooh la  la” she tosses in halfway through. We remain on the water with the next track, “Little Boat,” a song that Peggy Lee recorded. “Bouncing merrily along,” CeCe Gable sings, and the rhythm then has that feel. And the song, like this album’s first track, mentions “paradise,” helping to transport us and set the mood. She also adds some sweet-sounding scat partway through. Bill Hecht delivers some nice work on piano. “You And The Night And The Music” contains some absolutely wonderful guitar work by Akio Sasajima, and also one of the album’s best vocal performances. CeCe Gable is just completely delicious here. And check out that bass work by Harvie S. Everything comes together perfectly to make this track one of the highlights of the album. And it is followed by another highlight, “Small Today Tomorrow.” CeCe Gable presents a cool rendition that features another excellent vocal performance, as well as some nice work on piano by John Shipley and on guitar by Angelo Earl. CeCe’s delivery of “Spring Can Really Hang You Up The Most” has an intimate quality. The energy then rises on “Any Place I Hang My Hat Is Home,” which has a fun vibe. You can hear the smile in CeCe’s delivery. “I’ll See You In C-U-B-A” contains another of this album’s outstanding vocal performances. CeCe Gable does a phenomenal job on this one. And I love the drum work by Tony Savage. The album concludes with its second original composition, “Once Again It’s Winter,” which, like the opening track, was written by CeCe Gable and Corky Brumble. Akio Sasajima provides some sweet work on guitar. “Now and then I wonder aloud/If the things that matter the most/Are only fleeting moments in time.” This album was released on May 24, 2024.

Sergio Pereira: “Bossa+” – Guitarist and composer Sergio Pereira’s new album features mostly original material. He plays guitar and violão, along with some percussion. Joining him on this release are Chipi Chacón on trumpet and flugelhorn, Luis Guerra on piano and keyboard, Ariel Ramirez on bass, and Mauricio Zottarelli on drums and percussion. From the beginning of the album’s first track, “Bossa,” Sergio Pereira offers music that soothes us, that gently caresses us and urges us toward joy. The flugelhorn has an uplifting aspect from the start, but it is the guitar work, particularly in the middle, that especially raises our spirits. The lead on piano also engages us, and the effect is to remind us of the great dance that we’re all a part of, to lead us to focus on that rather than on the seeming chaos that constantly wants our attention. “Bossa” is followed by “Sea Of Love,” and this track features Sergio Pereira on vocals in addition to guitar. This is an original song, not the Phil Phillips number. Here is a taste of the lyrics: “In my dreams we leave and sail away/In this sea of love, we’re diving deep/Beneath the moonlit skies, our love just flies/Without an anchor to hold us tight.” Who among us doesn’t dream of sailing away with that special someone? This track features some really nice work on trumpet. Then “One For Pat” features a different group of musicians: Romero Lubambo on violão, Ivan “Melon” Lewis on piano, Ivan Ruiz Machado on bass, and Jose San Martin on drums. On this one, Sergio Pereira also offers some soothing vocal work, but without lyrics, creating a dreamy atmosphere. “Montgo” will likely get your body moving, swaying. It contains a wonderful rhythm, and features some strong work on guitar. My favorite element of this one, however, is Chipi Chacón’s work, which seems to fly unburdened, certainly raising our spirits. I wish that lead went on a bit longer. Toward the end, there is some vocal work, but again with lyrics. And check out the drum work in that section. Romero Lubambo joins the group on violão for “Saudades,” a track that features a good groove, and some excellent playing by both Pereira and Lubambo, particularly in that section toward the end where they respond to each other. The final of the album’s original compositions is “Desamor,” which has a funky element, heard mainly in the bass line. It is also the second track to feature lyrics, this time delivered in Portuguese. The lyrics were written by Murilo Antunes. The album then concludes with its sole cover, ”There Will Never Be Another You,” this rendition having a fun bossa nova rhythm and featuring some excellent work on guitar. I love the drum work on this track, and there is even a solo in the second half. This album was released on April 24, 2024.

Leigh Pilzer’s Seven Pointed Star: “Beatin’ The Odds” – Leigh Pilzer is an accomplished saxophone player and composer. You might know her from her work in The DIVA Jazz Orchestra, or from her group Leigh Pilzer’s Low Standards, or from her other group Leigh Pilzer Startet. Her new group, Leigh Pilzer’s Seven Pointed Star, features Amy Shook on bass. Interestingly, on the band’s first album, Beatin’ The Odds, there are actually two different bands, though all include Amy Shook. The first five tracks feature Ally Hany Albrecht on trumpet, Mercedes Beckman on alto saxophone, Jen Krupa on trombone, Amy K. Bormet on piano, and Sherrie Maricle on drums. The last four tracks feature Kenny Rittenhouse on trumpet, Tim Green on alto saxophone, Joe Jackson on trombone, Allyn Johnson on piano, and Frank Russo on drums. Leigh Pilzer plays baritone saxophone, bass saxophone and bass clarinet. She wrote all but one of the album’s tracks. The album opens with “SKCC,” which stands for Sidney Kimmel Cancer Center, where Leigh Pilzer was diagnosed and treated. But this track is not a downer. In fact, it has a rather positive feel, and features some lively work from several players. “Lin” continues the theme, this song named after her surgeon. This one has a more thoughtful, gentle feel, yet with strength at its center. There is a wonderful section where the bass leads, and that continues as the piano joins the bass and drums. And there is some moving work on saxophone. “Waterkress,” named after her oncologist, has a bright vibe right from its opening moments, like opening curtains on a room that has remained dark long enough. There is a delightfully cheerful feel to this track, even a playfulness, and it is one of my personal favorites. It’s a piece that tells us things are going to be all right. “The Platinum Taxi” includes a good drum solo, which interestingly comes right at the end. The track even fades out on the drum solo, which is unusual. The album’s title track is the only track not composed by Leigh Pilzer. It was written by Amy Shook for Leigh, regarding Leigh’s odds of surviving five years. And Leigh has indeed beaten the odds. There is a certain determination heard in the music here. I particularly like that section of bass and drums in the second half. The rest of the album, with the other musicians, tackles a different subject, that being the pandemic. The first of these tracks, “And Then It Stopped,” is about that moment in March 2020 when everything suddenly came to a stop. There was no work, which I would have enjoyed if there’d been concerts to attend. But there were no concerts. You can feel the different instruments react to the news of the cancellations in this tune. This track has a delicious groove. While “The Platinum Taxi” faded out on percussion, “How Much Longer” begins with percussion. Greg Holloway joins the group on percussion on this track. This piece reflects on the uncertainty of the time. We had many questions, but no answers were coming. The album concludes with “Where Will We Go?” which looks to the future, something we did a lot of during the pandemic. This album was released on March 29, 2024.

Jane Scheckter: “I’ll Take Romance” – On her new album, vocalist Jane Scheckter focuses on love songs. We all need love and romance, and to keep our sanity in these divisive times perhaps we should all focus a little more on them. This album will help. Joining Jane Scheckter on this release are Tedd Firth on piano, Jay Leonhart on bass, and Peter Grant on drums. She opens the album with Stephen Sondheim’s “Love, I Hear,” her voice at first supported by some really nice work on bass before the others come in. Jay Leonhart, in addition to delivering that great stuff on bass, delivers some scat in the middle of this track. Then Warren Vaché joins the group on cornet for “I’ll Be Easy To Find,” delivering a moving lead halfway through. This track also features a warm, intimate, and gorgeous vocal performance that grabs hold of us immediately. “I’ll be easy to find/When love comes looking for me/I’ll stand there with my arms out/So that I’ll be easy to see.” Oh yes, isn’t that how we should all receive love? And I love the romantic feel of the piano work. This is one of my favorite tracks. It is followed by the album’s title track, which begins with some nice work on piano and features a joyful vocal performance. “You’d Better Love Me” is another of the disc’s highlights, with that delicious bass line and Jane’s delightful and playful and energetic vocal delivery. Then Warren Vaché provides another wonderful lead on cornet during that excellent instrumental section of “Moments Like This.” Jane completely inhabits a song like “My Foolish Heart.” Just listen to the way she delivers the lines, “There’s a line between love and fascination/That’s hard to see on an evening such as this/For they both give the very same sensation/When you’re lost in the magic of a kiss.” She is right there, and through her performance puts us right there too. Her rendition of “I’m Gonna Lock My Heart And Throw Away The Key” is fun and lively, and features some excellent work by Warren Vaché on flugelhorn. “You Are Not My First Love” features another strong vocal performance. “You are not my first love/I’ve known other charms/But I’ve just been rehearsing/In those other arms.” Oh yes, for those of us who found true love a little later in life, these lines ring true, particularly the way Jane Scheckter sings them. I’ve said before that you can never go wrong with Gershwin, and on this album Jane gives us a wonderful rendition of “Isn’t It A Pity.” Nicolas King joins her on vocals for this song. That’s followed by a touching rendition of Peggy Lee’s “Then Was Then.” There is one original composition on this album, “Looking Back,” with music by Michael Leonard, and lyrics by Roger Schore and Jane Scheckter. It follows “Then Was Then,” and is also a stirring and beautiful number. “A choice I made, the chance I missed/Keep running all through my mind/Alone with someone wonderful/Whose smile I left behind.” This album was released on March 15, 2024.

Amber Weekes: “A Lady With A Song: Amber Weekes Celebrates Nancy Wilson” – On her new album, vocalist Amber Weekes celebrates the music of Nancy Wilson, covering songs that Wilson herself covered during her incredible career. She opens the album with a delightful, lively and joyous rendition of “Gentleman Friend,” featuring a bright vocal performance and also some really nice work by Russell Malone on guitar. That’s followed by “Save Your Love For Me,” which was the lead track from the album Nancy Wilson and Cannonball Adderly released in the early 1960s. This rendition has more of a 1970s vibe, and contains some wonderful work by Gerald Albright on tenor saxophone. This album’s title track, “A Lady With A Song,” was the title track to Nancy Wilson’s1989 album. I love the approach here, particularly the rhythm on guitar, and Amber Weekes’ warm and friendly performance. “I can give you spring on a cold winter’s day,” she sings, and we hear the truth of her statement. “Ten Good Years” is a playful song that Nancy Wilson included on her 1965 live album. Amber Weekes gets into the spirit of it here with her rendition of a song that jokes that a woman has got only ten good years, something both she and Nancy Wilson have proved to be patently false. This track is a highlight for me, in large part because of Amber’s performance, especially that section where she goes through each year. Wonderful stuff! And speaking of wonderful, Amber Weekes then covers “What A Little Moonlight Can Do” from Nancy Wilson’s Something Wonderful album. This version has its own spin, beginning with a cool bass line. And Amber’s voice matches, even exceeds that level of cool, making this another of the disc’s highlights. Russell Malone again shines on guitar. From But Beautiful, Amber Weekes chooses “Supper Time” (here listed as “Suppertime”), delivering a fantastic and powerful rendition, reminding us just what this song is actually about. It was inspired by a news story about a lynching, and this rendition includes a spoken work section in the second half. It also features some beautiful work by Mark Cargill on violin. Mark Cargill also delivers some wonderful stuff on “Wave,” which follows. From Welcome To My Love, Amber Weekes covers “I’m Always Drunk In San Francisco (And I Don’t Drink At All),” here listed as simply “I’m Always Drunk In San Francisco.” She delivers an absolutely delicious rendition, featuring a captivating vocal performance and a great lead on trumpet by Rashawn Ross. That’s followed by yet another of the disc’s highlights, “The Best Is Yet To Come,” this track featuring Rickey Woodard on tenor saxophone. Then Paul Baker delivers some pretty work on harp on “You’re Gonna Hear From Me.” That song was included on Nancy Wilson’s A Touch Of Today, and from that same record comes this album’s final track, “Wasn’t It Wonderful.” Just as this album began, it concludes with a lively and bright number. This album is scheduled to be released on June 6, 2024.

Tyler & The Train Robbers: “Hum Of The Road” (2024) CD Review

Tylor & The Train Robbers continue to deliver excellent folk and country rock numbers on their new album, Hum Of The Road. This one features all original material written by lead vocalist Tylor Ketchum. The band is made up of Tylor Ketchum on vocals, rhythm guitar and harmonica; Jason Bushman on bass and backing vocals; Tommy Bushman on drums, percussion and backing vocals; Rider Soran on pedal steel, lap steel and dobro; and Johnny “Shoes” Pisano on lead guitar. There are also a couple of guests joining them on certain tracks.

Hum Of The Road opens with its title track, which has a bright, positive sound as it starts, something that grabs us, like a bit of magic sprinkled over us and inviting us to travel that road. Then Tylor Ketchum’s voice has that familiar quality that makes it a perfect companion on the road, a voice of someone who has clearly been there, a voice of experience, yet one promising no simple answers. “Up until now, ain’t nothing stopped me in my tracks/It’s getting tough to take it easy and even harder to find the facts.” The steel guitar helps to create that delicious country sound. “I ain’t being what I thought I should/Even though I know that I still probably could/But where’s that gonna get me in the long run.” Toward end he repeats “In the long run,” and we can hear in his voice thoughts of the future, where all our minds wander off to, I suppose. Who doesn’t wonder where these things will get them? That’s followed by “Next Long Haul,” which begins with some cool bluesy folk guitar work. Its first lines mention the road: “If you’re feeling like this road has got you beat/You’ve got to turn around  and hit it just one more time/Because hitting that road, it ain’t even your toughest feat/And even something you’d come to love on down the line.” The song settles into more of a country sound. “It’s time to pack it up and head out on our next long haul.” Oh yes, we all get that itch to head out on the road, but it is something in the sound that makes me smile. The band seems to be having a good time here, and that instrumental section in the middle is wonderful, featuring some really good stuff on guitar and harmonica. “So if you’re doing what you want to be doing, then you’ll probably be fine.”

“The Way We Learn” has a fun vibe from the start, and the vocal line is a part of the song’s delightful rhythm. “When you’re a cold one and a bold one/Opportune times are pretty seldom/But remember you’re just living/The way you learned to be.” This is the kind of number that will have skirts twirling and beer bottles raised. It’s a totally enjoyable number. That’s followed by “Skittle Man,” a rocking country tune with a driving rhythm and some good stuff on steel guitar. But it is that vocal performance that is the focus here, and this song contains some excellent lyrics: “The choices I make, they’re the choices I’ll live with/The choices I make, you can put ‘em on me/But when you’re brought up to lose and put down when you win/You become afraid of where you’re going and afraid of where you’ve been.” There are some surprising lines, like “And I’m talking down a tweaker about medieval times.” And when the narrating character is shot in the chest, he comments how it results in him “making a mess.” Plus, this song uses the word “skedaddle.” What more could you want? A little fiddle? Well, this song gives that to you too, with Cody Braun delivering some nice work. This is one of my personal favorites.

“Workin’ Hands” begins with some excellent work on guitar that sets the tone and creates expectations that this will be one of the album’s best tracks. And indeed, it is another of my favorites. There is a delicious energy to the vocal delivery, and some lines that I love. “It seems that we’ve been leaving all our dreams for tomorrow/And this life has been a nightmare, now it’s time to wake up.” There is more catchy and impressive guitar work throughout the track. This one has a great forward momentum. “Converse on what you thirst and lift the curse before it worsens.” Oh, this song will remain ahead of that curse, no question. That’s followed by “Sailing Song,” a sweeter number. Check out these lines from early in the song: “I’d like to pick you up, I’d never mean to bring you down/If you felt like life was rough, I’ve got the tools to sand it down.” This one is about moving too, but here it is wanting that special someone at your side. Perhaps two journeys can align. This song has a pleasant, friendly vibe. “When I’ve seen you at the dock you don’t have no time to talk to me/But I say that if you love it it’s bound to set you free/So keep an eye out for a lighthouse to draw you back in from out at sea/And I’ve never been the one to table how I feel/But it’s a hard day at the harbor while you’re harboring something so real.” This band certainly can craft a great lyric, don’t you agree? Jonathan Tyler joins the group on organ for this one.

“Straight As An Arrow” uses the dreaded “self”/“shelf” rhyme, but it sort of works here: “But I know that she’s lying ‘cause I fed her myself/She’s just begging at me for them treats off the shelf.” Then it’s used a second time later on, and this time it’s a woman begging for treats from the shelf. A parallel is drawn between the two, so, again, it sort of works. I know using the word “shelf” in a song doesn’t bother everyone, but that word almost always seems forced into a line, like there is no other choice. Anyway, Cody Braun adds some nice work on fiddle on this track. And there are some good lyrics, such as these lines: “If tonight were all I had, I’d say the hell with tomorrow/At least the morning will put tonight in my past.” Then “I Ain’t The Only One” has a rockin’ groove. “But you can give it all you got,” Tylor sings near the beginning of this one, and the band seems to be doing just that, creating a fun number to get us dancing. There is something of a party vibe to this track, and it contains some strong work on guitar. And I love these lines: “Have you met Mr. Psilocybin/He’ll help to brighten your horizon/But if you’ve got demons on your mind/He makes them easier to find/So take it slow.” Oh yes, good advice.

“I’ve been shouting from a mountain top as if they can hear me down below/I take it easy on the way down ‘cause these brakes are starting to go,” Tylor sings at the beginning of “On The Go.” Those opening lines take me back to certain moments when my van had no control and we were heading down a steep hill. Fun memories now, but terrifying at the time. This song features some lovely work on steel guitar. As with all of this band’s songs, this one contains some good and memorable lyrics, such as this line: “The price you pay day to day, it won’t cover what you owe.” The band then wraps up the album with “Ton Of Trails,” which features some pretty work on guitar. Dave Percefull joins the group on organ for this one. This is a really good folk number, with a more intimate tone to the vocal approach. “Try and keep what’s real and throw the rest away/And be true to who you want to be/What would you do if what you did was done/Could you stop living your life afraid to jump the gun/This ain’t no time for asking permission/That’s what put you here in this here position.”

CD Track List

1. Hum Of The Road
2. Next Long Haul
3. The Way We Learn
4. Skittle Man
5. Workin’ Hands
6. Sailing Song
7. Straight As An Arrow
8. I Ain’t The Only One
9. On The Go
10. Ton Of Trails

Hum Of The Road was released on May 3, 2024.

Dogs Run Free Episode 2: Leslie Knauer Interview

In this episode, I talk with Leslie Knauer, a vocalist and guitarist known for her work in Promises, Precious Metal, Kanary and Sunset Junction Band. Our conversation focuses mostly on Kanary and Sunset Junction Band. Toward the end of the episode, she treats us to a special performance of “Woke Me Up” on acoustic guitar.

Old Californio at The Mayan Bar And Grill, 5-25-24 Concert Review

Old Californio performing "Old Kings Road"

The Mayan Bar And Grill in Monrovia is becoming one of my favorite places to see a concert. Partly it’s because of the atmosphere and the type of crowd the venue draws. Might the perceived distance from town have something to do with the folks who patronize the place? People who are going to put in that extra effort are going to be people to whom it is important to be there, people who love the music. Though, really, it’s not at all that far. I got there in less than thirty minutes last night. There was no traffic, and I was able to go 75 the whole way. And the beer is reasonably priced (cheap by Los Angeles standards). But the main reason for my love of this venue is the music. I’ve not yet seen a bad lineup, or even a mediocre band. For whatever reason, this place attracts some of the best groups around. Old Californio clearly is among their number, the band feeling like an intrinsic part of the southern California sound.

The Geraldos

The Geraldos opened the show, taking the stage at the scheduled time of 8 p.m. (yes, that’s another thing I appreciate about this venue – there is no bullshit about start times). This was my first time seeing the trio, and they opened their set with “Don’t Cry No Tears,” the Neil Young song. They would do a few more Neil Young songs at the end of the set, but before that they covered songs from the Rolling Stones, The Beatles and James Gang. One of the highlights for me was the group’s rendition of “Summertime Blues,” which was certainly inspired by the Blue Cheer version rather than the original Eddie Cochran recording. It was a lot of fun. The Geraldos closed out their set with three Neil Young songs, “Cinnamon Girl,” “Ohio” (a CSNY song written by Neil Young), and “Down By The River.”

"Old Kings Road"

Old Californio was scheduled to start at 9 p.m., and at 8:58 kicked off the set with “Old Kings Road,” the lead track from the band’s 2023 release Metaterranea. The crowd was immediately into it, digging it. “It’s that California sound, it’s got some California soul,” they sing here. Yes, exactly. That line makes it a good choice of set opener, and the energy is just right. They followed that with “City Lines,” a song from Westering Again. I love how this band makes me feel, their music like a wind blowing in from the desert to remind us that life is good. This song featured some great stuff on keys during the jam. The band’s vocal work is certainly a part of its appeal, and last night their rendition of The Beatles’ “Because” featured some particularly good vocals. This band does such a nice rendition of that song. You can hear it on the 2022 release Old Californio Country. Then “Keep On Rollin’” had a sweet vibe, and was followed by “Harmony,” which had such a cool feel to it. I especially loved when the guitar cut loose. There was more excellent vocal work on the beautiful “Saint Cecilia.”

As much as I love this band’s original material, sometimes it is the covers that really stand out. Such was the case with “Ring Of Fire” last night, which got folks dancing and was a highlight of the set. The band really put its own spin on this song, and the jam featured some nice stuff on keys. That was followed by another excellent cover, “Midnight Moonlight,” the Peter Rowan song that was included on that great Old & In The Way album. Old Californio’s rendition last night was a whole lot of fun. And I love how it then concluded gently with vocals. The band followed that with “I Won’t Cry,” a song that was included on Old Californio Country, and another that featured some strong and wonderful vocal work. The band acknowledged the joy of the crowd, thanking folks for dancing. Then “Destining Again,” a song from Metaterranea, featured some great stuff on guitar. “I wonder where it will leave us, this road we’re on/Can’t go back/‘Cause nothing lives in the past.” And when they sang, “Ain’t taking nothing that I don’t need,” I couldn’t help but think that I need very little more than good music, good company and good beer, all of which were present at the Mayan last night. They followed that with “Allon Camerado,” which featured some great drumming.

"Lie To Me"

At 9:58, rather than taking the planned set break, the band announced that they’d roll right into the second set. And why not? The energy was high, and the momentum was strong. The first song of what would have been the second set was “Mother Road,” a rocking number featuring some fantastic work on keys. That was followed by “Just Like Joseph Campbell,” and then a cover of Lucinda Williams’ “I Lost It,” which was another highlight. Combining the two sets into one long set, they ended up not playing everything that had been planned for the second set. A few tunes were skipped, and they then rocked the place with “Lean Into It,” delivering a good jam with outstanding energy. This song contains a reference to Macbeth, as they sing “Something wicked this way blows,” a play on the witch’s lines “By the pricking of my thumbs/Something wicked this way comes.” They kept the energy up with a cover of Gene Clark’s “Kansas City Southern.” The set concluded with a totally fun cover of Kaleidoscope’s “Lie To Me,” each of the band members getting a chance to shine. The set ended at 10:36 p.m.,  and the house music came on, but the crowd overpowered it, calling for an encore. Hell yeah, this was my kind of crowd! The band chose one of the songs they’d skipped earlier, “Warmth Of The Sun,” an excellent song from Westering Again. The show ended at 10:43 p.m. What a great night of music.

Set List

1. Old Kings Road
2. City Lines
3. Because
4. Keep On Rollin’
5. Harmony
6. Saint Cecilia
7. Ring Of Fire
8. Midnight Moonlight
9. I Won’t Cry
10. Destining Again
11. Allon Camerado
12. Mother Road
13. Just Like Joseph Campbell
14. I Lost It
15. Lean Into It
16. Kansas City Southern
17. Lie To Me

Encore

1. Warmth Of The Sun

Here are a few photos from the show:

The Geraldos

The Geraldos

"Because"

 

"Allon Camerado"

"Allon Camerado"

"Allon Camerado"

"Allon Camerado"

"Lie To Me"

The Mayan Bar And Grill is located at 317 W. Foothill Blvd, in Monrovia, California.