Paula Fong: “Chestnut Mare” (2024) CD Review

Paula Fong is a singer and songwriter from Los Angeles. She released two albums with Tom Kell, Between Heartache And Promise in 2016 and The Other Side Of Sorrow in 2019, and has played with Abby Posner. Now she is putting out her first solo EP. Titled Chestnut Mare, this release features original material, most of it written by Paula Fong (with one being an adaptation of a poem written by her mother). Joining her on this EP are Michael Starr on electric guitar, acoustic guitar, slide guitar and keyboards; Phil Glenn on violin, mandolin, banjo, acoustic guitar, piano and backing vocals; Cory Tramontelli on upright bass and electric bass; Deacon Marquinn on drums and percussion; Phil Parlapiano on electric piano and organ; and Nate Richert on percussion. There are also guests on most of the tracks.

The EP opens with its title track, “Chestnut Mare,” which is the one that began as a poem by Paula Fong’s mother (and not to be confused with the Byrds song of the same name). It is a pretty song, featuring some gentle work on acoustic guitar, along with some wonderful touches on banjo. Johnny Flaugher plays upright bass on this track, delivering some really nice stuff. Paula Fong’s vocal approach reminds me a bit of some of Joni Mitchell’s early work. “Guiding spirit, treading softly, light my pathway, bring me round/Hover gently, hear us clearly, simply pleading, ‘Make us found.’” That’s followed by “A House Is Not A Home,” which has a delightfully cheerful vibe. “Once I was so young and free and rambling/I traveled across the land and mountainsides/But now I’ve found a love who has claimed my heart/Ready for a new adventure, you by my side.” The music conveys the joy of both the traveling and the love, and this track features good stuff on mandolin and violin. It has such a pleasant and merry vibe.

The tone then changes for “As Memories Fade,” a heartfelt and heartrending song about loss, a loss that endures even as the memories leave. “Though I look, you can’t be found, save in memories from so long ago/Once I saw your smile in everything, in every mirror, your furrowed brow/Now I find those pictures dwindling, when I reach, they evade me somehow.” Those lyrics are so moving, those lines had me in tears. This song is about her brother, who took his own life. That’s horrible enough, but the idea of losing those memories, those mental pictures, is nearly unbearable. As we listen, we can’t help but think of those we have loved and are now gone, and the thought of their faces disappearing from our memories is overwhelming. This is a beautiful song, featuring an excellent vocal performance, along with some really wonderful work on violin. “And I know through my grief there’s forgiving/But knowing that won’t bring you back to me.” Daniel Landau provides backing vocal work on this track.

My two biggest passions in life (apart from friends and family) are music and Shakespeare, and the two sometimes overlap, as they do on this EP. Ophelia doesn’t show up as often in songs as, say, Juliet does, but there are still several songs that mention that character, such as Bob Dylan’s “Desolation Row” and the Grateful Dead’s “Althea,” and there are several songs titled “Ophelia,”  such as those by Natalie Merchant and The Lumineers (apparently The Band’s “Ophelia” isn’t about the Shakespeare character at all). Paula Fong’s “Ophelia” was inspired at least in part by the book Reviving Ophelia: Saving The Selves Of Adolescent Girls. “Won’t you sing again for me, Ophelia, of all the sorrow buried in your heart/For the watcher never sees in your eagerness to please/All the shame was merely sadness from the start.” Abby Posner joins her on vocals, and they sound wonderful together. This track also features some good work on violin, and is another of the disc’s highlights.

“Jacob & Esau” is based on a biblical story. I am not all that familiar with the story, except what I gathered from the Grateful Dead song “My Brother Esau,” which is inspired in part by that same story. Teresa James (of Teresa James And The Rhythm Tramps) and Ben Matin join Paula Fong on vocals for this one, and there is some strong vocal work to open this track. This song has a compelling atmosphere, created in part by the percussion and that excellent work on violin. It is a striking song, and features some good work on keys. “Well, you may call me brother, but we are as strangers now/You can’t undo the injury that’s stamped upon my brow.” The EP then concludes with “The Fallen Lamb,” this one too having biblical allusions. “You fill up a glass just to fill up a need/Pity the shepherd with no flock to lead/Raise your hands to the fallen lamb/Raise your hands to the fallen lamb.” Leeann Skoda, whose set was one of the highlights at the International Women’s Day concert at the Hotel Café earlier this year, joins her on vocals. This track also features some moving work on violin.

CD Track List

1. Chestnut Mare
2. A House Is Not A Home
3. As Memories Fade
4. Ophelia
5. Jacob & Esau
6. The Fallen Lamb

Chestnut Mare is scheduled to be released on September 6, 2024.

Early Jazz: A Concise Introduction, From Its Beginnings Through 1929 (2024) Book Review

Fumi Tomita’s book Early Jazz: A Concise Introduction, From Its Beginnings Through 1929 is intended as an update on Gunther Schuller’s 1968 book Early Jazz: Its Roots And Musical Development, focusing on the period from the late 1800s up to 1929, though it does occasionally get into the 1930s. And though, as it says, it is an introduction to the subject, this book is able to provide lots of fascinating details. It also provides analyses of specific standout tracks that work as examples of the different types of songs being played at that time. Fumi Tomita is Associate Professor of Jazz at the University of Massachusetts Amherst, and a musician. This book follows his The Jazz Rhythm Section: A Manual For Band Directors, published in 2019.

The book begins with ragtime, “Jazz’s strongest precursor” (p. 7). I’ve always associated ragtime with certain instrumental tracks, but Fumi Tomita discusses how vocal ragtime predates those familiar numbers. That’s something I didn’t know, and I was also surprised at the fairly offensive titles (at least by modern standards) of some of those songs. Tomita provides biographical information on Scott Joplin, and focuses on “Maple Leaf Rag,” including a detailed analysis of the song’s various sections. This first chapter also gets into minstrel shows and vaudeville, and their place in the development of jazz. He follows that with a chapter on the blues, including work songs, and focuses on the great Bessie Smith. Then he takes us to New Orleans, with the influence of the brass bands, writing, “The first generation of jazz musicians began their careers in brass bands with the Olympia Brass Band led by trumpeter Freddie Keppard and the Onward Brass Band led by trumpeter Manuel Perez” (p. 34). He provides information on Buddy Bolden, “widely acknowledged as the first jazz musician” (p. 35). Interestingly, he was also the first jazz musician to suffer severe mental health problems, and was declared insane and died in an asylum. The book also contains information on Original Dixieland Jazz Band, the first jazz band to record, releasing a record in 1917. The book includes an analysis of that record.

Just as many musicians did at the time, this book moves from New Orleans to Chicago, focusing on Joe “King” Oliver and Jelly Roll Morton, and their influence on music. Tomita writes, “Attracted to expressive sounds on the instrument, Oliver experimented with different ways to mute his cornet using his derby hat and a plunger mute, among other items that are still used today” (p. 53). The book’s next few chapters get into the New York scene, with groups like the Original Memphis Five, The Georgians and The California Ramblers (interestingly, none of those bands’ members are from the places of their names). Tomita focuses one of those chapters on a specific style of playing known as stride piano, “a descendant of ragtime that emerged in Harlem cutting sessions during the 1910s and 1920s” (p. 79). Tomita continues: “A highly virtuosic style of performance, stride required advanced technique, range, and tempo than what was previously heard in ragtime; its name is derived from the speed of the left hand alternating between bass note and chord” (p. 79). That section focuses on several musicians, including Fats Waller. The exploration of the New York jazz scene continues with a concentration on the dance bands, with information on James Reese Europe, Paul Whiteman, Fletcher Henderson and Duke Ellington. Duke Ellington had his first band in high school, and that is also when he got the nickname “Duke.”

Fumi Tomita dedicates an entire chapter to Louis Armstrong, who lived in New Orleans, then Chicago and then New York, the three cities on which this book is focused, and in the order in which they are the focus. Tomita writes: “While the Hot Five records contain outstanding examples of Armstrong’s playing, they also contain his first recorded vocals. He always loved to sing but was not allowed to during his tenures with Oliver and Henderson” (p. 115). The chapter includes a study of “West End Blues.” It also includes information on Louis Armstrong’s wife, Lil Harden Armstrong, a jazz pianist. The book’s later chapters include information on other musicians who had a great impact on jazz, as well as other cities where the music thrived, in so-called territory bands. One thing this book does, perhaps unsurprisingly, is provide me with a list of records I need to add to my collection. For example, I had no idea that James P. Johnson did a rag version of Grieg’s “Peer Gynt Suite,” and I most certainly need to own that. And there are several other records that are discussed in this book that I wish to possess. Interestingly, the book mentions that the popularity of the radio contributed to a drop in sales of records, something that we now talk about with regards to streaming services.

Early Jazz: A Concise Introduction, From Its Beginnings Through 1929 was published in a hardcover edition on February 1, 2024 through SUNY Press, and is now available in paperpack.

The Raveonettes: “Sing…” (2024) CD Review

The Ravenottes are the duo of Sune Rose Wagner and Sharin Foo, from Denmark. While most of their albums contain original material, on their new album, Sing…, they cover some of the songs that inspired them when they were beginning the group, mostly music from the 1960s. From time to time, the band has included a cover song. On the second album, Pretty In Black, they covered “My Boyfriend’s Back,” a hit for The Angels in 1963, and on their holiday EP they covered Darlene Love’s “Christmas (Baby Please Come Home),” which was also originally released in 1963. So clearly they have an affinity for music from that time.

They open the album with an absolutely adorable rendition of “I Love How You Love Me,” a song written by Barry Mann and Larry Kolber. It was a hit for The Paris Sisters in the early 1960s. There is a sweet, dreamlike quality to the delivery of this version by The Raveonettes. “I love how your eyes close/Whenever you kiss me.” Listening to this track, you just want to close your eyes and drift into its world. They follow that with another delightful number from the 1960s, “Goo Goo Muck,” which was originally recorded by Ronnie Cook And The Gaylads. It was later covered by The Cramps in the early 1980s on their Psychedelic Jungle album, and it seems The Raveonettes take more inspiration from The Cramps version, apparent from the fact that it is that band which is listed on the album’s cover. And also they deliver the line as “I’m the night headhunter looking for some head,” which is how The Cramps did it. The original line is “I’m the night headhunter looking for a head.” Who doesn’t love these rock and roll monster songs? Anyway, they do a great job with it.  That’s followed by “The Girl On Death Row,” another song from the early 1960s, this one was written by Lee Hazelwood, and originally recorded by Lee Hazelwood with Duane Eddy And His Orchestra. This is a darker, more somber number, and The Raveonnettes’ version reflects that, though perhaps their rendition is just a bit more fun than the original. I love the way they deliver these lines: “Is she guilty? She says no/The girl on death row.”

It seems fitting that these guys would cover an Everly Brothers song, as they are known, at least in part, for their two-part harmonies. And apparently when they were starting out, they used to cover Everly Brothers songs. The song they pick is “All I Have To Do Is Dream,” and it is perhaps the best choice from that catalogue, for their dreamlike vibes fit the mood perfectly. The Raveonettes deliver a wonderful rendition. Then we get a song composed by Gerry Goffin and Carole King, who wrote a lot of hits, a lot of great songs. The one The Raveonettes choose to cover is “Will You Love Me Tomorrow,” which was a hit for The Shirelles in 1960. The Raveonettes deliver an interesting rendition, with a steady and quick pulse on percussion, over which their vocals have a more relaxed quality, creating a juxtaposition of feelings. That pulse disappears a bit before the end, and that repetition of the main line at the end is effective.

They then go in a different direction, covering “Venus In Furs,” a song written by Lou Reed and originally included on The Velvet Underground & Nico album. This is a song that I love. I also love the Leopold Von Sacher-Masoch novel that it is based on, and even the mediocre film versions (why can’t anyone make a good Venus In Furs movie?). The Raveonnettes give us an excellent rendition, certainly getting into the great atmosphere of the song. “Ermine furs adorn the imperious/Severin, Severin awaits you there.” You never see anyone in ermine anymore. Why is that? Anyway, this is one of my favorite tracks. After that, they return to a slightly earlier time, covering Buddy Holly’s “Wishing,” a song he wrote with Bob Montgomery. I like that bit of fuzz they add to it, giving it a later 1960s vibe.

“Return Of The Grievous Angel” is an interesting choice, for it the only song on this album that is more in the country realm. It was included on Gram Parson’s final studio album, with Gram joined by Emmylou Harris. And, yes, The Raveonettes’ rendition is still in that country realm, and it features some beautiful vocal work. They do add their own touches to it, adding a bit of fuzz as they did on “Wishing.” That’s followed by Shakin’ All Over,” another cool 1960s song, this one originally done by Johnny Kid & The Pirates. This is fun, particularly the instrumental section in the middle, which features some strong guitar work. There is a rumbling at the end. The Raveonettes then put their own spin on “Leader Of The Pack,” creating a fuzzier sound than that of the original. And in this version there is no spoken word intro, and no backing vocals answering, “Yes, we see.”

From The Who, The Raveonettes choose “The Kids Are Alright.” Interestingly, the drums don’t come in as early as they do on the original Who version. This gives the song a bit of a more moody vibe, with the vocals being the focus. “Better leave her behind with the kids, they’re all right.” The drums come in on “Sometimes I feel I got to get away,” and on this rendition the drums provide a steady pulse. There is no wild Keith Moon-type work here, and that is enough to give it a very different feel. The disc concludes with “The End,” the Doors song. This version has a much prettier vibe to it, which in a strange way is even more haunting. This version does have that eerie feel of being out on a dusty road in the wild west somewhere. This version is much shorter than the original. That whole spoken word section is cut, so no Oedipal screams in this one.

CD Track List

1. I Love How You Love Me
2. Goo Goo Muck
3. The Girl On Death Row
4. All I Have To Do Is Dream
5. Will You Love Me Tomorrow
6. Venus In Furs
7. Wishing
8. Return Of The Grievous Angel
9. Shakin’ All Over
10. Leader Of The Pack
11. The Kids Are Alright
12. The End

Sing… is scheduled to be released on July 19, 2024, and will be available on both CD and vinyl. The vinyl is glow-in-the-dark green, but does not have the last two tracks.

The Courettes: “Hold On, We’re Comin’” (2024) CD Review

The Courettes are a garage rock duo with some punk and 1960s girl group action added to the mix. Basically, these two create music that is a whole lot of fun. The duo is made up of Flavia Couri, who is originally from Brazil, on vocals, guitar, bass, piano, organ, Mellotron, and glockenspiel; and Martin Couri, who is from Denmark, on drums, percussion, Mellotron and backing vocals. They are joined on this album by Soren Christensen on piano, organ and Mellotron. And they are joined by, or rather, they are joining the original artists on these tracks. So they are creating new layers to existing songs, a strange sort of collaboration. Perhaps unnecessary, but certainly enjoyable. Hold On, We’re Comin’ features all covers, several of them from the 1960s, including “Wait A Million Years” and “Never My Love,” but also some more modern songs, including a Taylor Swift tune.

The album opens with “Hold On, I’m Comin’” from Sam & Dave, this track having the great raw energy of the original, because it sort of is the original. The Courettes add a drum part to the beginning to get the song going, and also add some nice vocal touches, echoing certain lines and phrases. The track feels like a live recording, with a whole lot of sound coming at us. “Hold On, I’m Comin’” was written by David Porter and Isaac Hayes, and was a hit for Sam & Dave in 1966. That’s followed by “Wait A Million Years,” a song by The Grass Roots (erroneously listed as “The Grasroots” on the back of the CD case). And again, there is such a great force once the song kicks in. They are clearly having a great time adding their own flavor to these songs. I love what Flavia Couri adds vocally, “I would follow you/If you want me to.” That’s an area where they especially leave their own mark.

The Courettes then move into the 1970s with “Shake Some Action,” the lead track from The Flamin’ Groovies’ 1976 album. Again, there is so much power, so much sound, it will make you think of Phil Spector productions. They add some energy to this number. The disc again moves forward in time to the early 1990s for The Cramps’ “Bikini Girls With Machine Guns,” and things become even more fun. This track seems to be a cover, not a collaboration, with the Courettes taking over lead vocals on this song: “Well, I’ve been a drag racer on LSD/And I rode bare-assed on top of the Sphinx.” This is one of the best tracks. The original version comes from The Cramps’ Stay Sick! album. Then it is back to the 1970s for Johnny Thunders’ “You Can’t Put Your Arms Around A Memory,” which was on his debut solo album, released in 1978, and is another great choice. The energy is there, and these guys add something of a 1960s girl group vibe to it, particularly in the rhythm.

They return to the 1960s for “Never My Love,” my favorite song by The Association, one that gets in my head frequently. The Courettes give it more of a garage sound, which doesn’t diminish the joy and love of the song. And they add a final little something at the end. That’s followed by “Baby Now That I’ve Found You,” another song from the 1960s, this one being one of the two biggest hits from The Foundations. The album then takes us to the very early 1960s with “Stay,” a song that Maurice Williams & The Zodiacs released in 1960 (though apparently Maurice wrote the song several years earlier). It was later covered by several other bands, including The Four Seasons (which makes total sense). It is the Zodiacs version that The Courettes are joining on here. That is followed by another song from the early 1960s, “Peppermint Twist,” by Joe Dee And The Starliters. This track is a whole lot of fun.

They switch gears then with the Taylor Swift song, “Shake It Off,” the only song on the album with which I was not already familiar. Like The Cramps song, this one is a cover, rather than the band joining Taylor Swift on the track. The Courettes give the song something of a 1960s vibe and it works quite well, particularly that spoken word bit, which is wonderful. I don’t dislike Taylor Swift (the little I’ve heard so far), but I absolutely prefer this rendition by The Courettes. The album concludes with another 1960s song, “Come A Little Bit Closer,” which was a hit for Jay & The Americans. It was written by Tommy Boyce, Bobby Hart and Wes Farrell. Boyce and Hart were responsible for several of the great Monkees song, and this song predates that band by a couple of years. The Courettes add a great deal of energy and sound from the very beginning, plus an excellent guitar part in the middle. They also add to that jam near the end. A very cool ending to the disc.

CD Track List

1. Hold On, I’m Comin’
2. Wait A Million Years
3. Shake Some Action
4. Bikini Girls With Machine Guns
5. You Can’t Put Your Arms Around A Memory
6. Never My Love
7. Baby Now That I’ve Found You
8. Stay
9. Peppermint Twist
10. Shake It Off
11. Come A Little Bit Closer

Hold On, We’re Comin’ was released on May 24, 2024 on Cleopatra Records, and was released on both CD and vinyl (the vinyl is red). The vinyl does not include the final track.