Brief Notes On New Jazz Releases

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

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

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

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

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

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

Sharon, Lois & Bram: “Elephant Show Stoppers!” (2024) Vinyl Review

I believe we appreciate music more when we possess it in some physical form, and especially when we have it on vinyl. So I think it’s a wonderful thing when children’s albums are released on vinyl, for it gives kids an appreciation early on, along with a desire to care for their collection. And it makes special sense for Elephant Show Stoppers! to be released on vinyl, for this album features previously unreleased music from the 1980s, giving it that nostalgia factor for adult vinyl collectors. The Canadian television series The Elephant Show (also known as Sharon, Lois & Bram’s Elephant Show) premiered forty years ago, running from 1984 to 1989. The program featured a lot of music, with singers and musicians brought in as guests. In 1986, Sharon, Lois & Bram released Elephant Show Record, with tracks from the show. Even before the series, Sharon, Lois & Bram had been releasing children’s albums, starting with 1978’s One Elephant, Deux Éléphants. And they continued to do so after the series finished.

On this record, Sharon Hampson is on vocals, Lois Lilienstein is on vocals and piano, and Bram Morrison is on vocals and guitar. Joining them are Bill Beecroft on trombone; Bobby Brown on piano and accordion; Don Englert on clarinet, flute, piccolo and saxophone; Charlie Gray on trumpet; Henry Heillig on bass; Scott Irvine on tuba; Brian Leonard on xylophone, marimba, percussion, jaw harp, tambourine, vibraphone and drums; Guido Luciani on electric guitar, acoustic guitar and slide guitar; Paul Mills on guitar, 12-string guitar and ukulele; Eric Nagler on banjo, mandolin, psaltery and washboard; Lorne Nehring on drums; Ray Parker on piano, electric piano and synthesizer; Graham Townsend on fiddle; Chris Whitely on harmonica; Dave Woods on trumpet; Jack Zaza on banjo, accordion and mandolin; and Matt Zimbel on percussion. The songs on this album are mostly covers, including some traditional tunes. The record’s liner notes include the season and episode title for each song, and the notes unfold to become a poster.

Side A

The album opens with “Elephant Show Theme,” which is a total delight. “They had such enormous fun,” they sing here. And you will too, especially when the horns take over just before the end, giving the song a New Orleans vibe. That’s followed by “We Ain’t Goin’ Nowhere,” one of my personal favorites on this record. It’s about a trip that is not going to happen because no one is the least bit prepared, each assuming the others have packed and written out the directions and so on, and it’s hilarious. “Have you got the address? No! Directions? No!” And it moves at a good clip, though of course they are not moving at all. I absolutely love this song, and any family that has ever tried to go on vacation will also love it. But if they ever do manage to get going, they can take off in the little red car. In “Little Red Car,” they sing of seeing each other at the traffic light. It’s always surprising when, unplanned, you see someone you know on the street, and even more surprising if you should happen to see an elephant dancing down the street, as happens here.

“People In Your Neighbourhood” originally comes from Sesame Street (where it is spelled “Neighborhood”). The version on this record includes children singing many of the lines. I don’t meet too many people in my neighborhood each day, but I still appreciate the spirit of the song. That’s followed by “Animal Fair,” a fun traditional number that features kazoo. They also deliver an enjoyable rendition of “Bye Bye Blackbird,” featuring some strong vocal work. These guys are clearly having a good time. Then “Love Grows Under The Wild Oak Tree” begins with some pretty work on piano, and also features some beautiful vocal work. “You Must Have Been A Beautiful Baby” likewise begins on piano. It becomes a playful number, in part through the vocal performance. That’s followed by “We Are Three Sailors,” a lively, goofy, delightful song that features some nice work on accordion. The first side of the record concludes with “Talk About Peace,” an original number written by Joe Hampson, Sharon’s husband. “There’s a whole lot of people in this old world living on nothing but hate/If things don’t change around pretty soon/It’s gonna be too late.” If children get this message early in their lives, maybe it will stick with them into adulthood, and that would be a great thing.

Side B

The second side opens with Cole Porter’s “Another Op’nin’, Another Show,” here listed as “Another Opening, Another Show,” from Kiss Me, Kate. Children join them on this rendition, putting us in mind of a school production, which is adorable. Perhaps this song will get some kids interested in doing theatre. Toward the end, they sing “The overture is about to start/With Elephant in the leading part.” Somehow I don’t think Cole Porter wrote that line. That’s followed by “Bibbity Bobbity Boo (The Magic Song),” another delightful, cheerful, silly number that encourages kids (and adults) to be goofy and creative. Then they give us their take on “Searchin’,” an early rock and roll number, written by Jerry Leiber and Mike Stoller, and recorded by The Coasters. These guys are clearly having fun with it, and children join them on vocals. This track features both harmonica and jaw harp.

“Shoo Turkey!!” features a call and response, with children doing the response, the lyrics delivered a cappella. That’s followed by “Ragg Mopp,” another fun, playful number featuring some strong vocal work. This is wonderful, and toward the end, the pace increases, which I love. Things are swinging and hopping. Then their version of “When The Red, Red Robin Comes Bob, Bob, Bobbin’ Along” begins slowly, sweetly, like a lullaby. It maintains that vibe until the line “Wake up, wake up, you sleepy head,” when it takes on a bright energy, which is perfect. It ends gently, as if to say we can go back to sleep now.

“Movin’ On” is another original number by Joe Hampson. It’s a totally enjoyable song about traveling across the country, and it has a rousing vibe, feeling at moments like it’s about to burst into gospel territory. “What this country’s got to show/Place to live, place to grow/We’ve got a story we’re gonna tell/We’re moving on.” And speaking of gospel, they then give us a good rendition of “This Little Light Of Mine.” At first, their voices are supported by some cool work on bass, and the song builds from there. You’ll be singing along soon enough. That’s followed by “One More Hour,” a Randy Newman song from the 1981 Ragtime soundtrack. It begins with some beautiful vocal work, the lyrics delivered a cappella. And then as the band comes in, it becomes even more moving. This is another highlight for me. “One more sweet song, play for me/Won’t you play for me.” And indeed, there is just one more song, a sweet and fun number titled “Skinnamarink,” which apparently Sharon, Lois & Bram performed at the end of every episode of the show. It is adorable.

Record Track List

Side A

1. Elephant Show Theme
2. We Ain’t Goin’ Nowhere
3. Little Red Car
4. People In Your Neighbourhood
5. Animal Fair
6. Bye Bye Blackbird
7. Love Grows Under The Wild Oak Tree
8. You Must Have Been A Beautiful Baby
9. We Are Three Sailors
10. Talk About Peace

Side B

1. Another Opening, Another Show
2. Bibbity Bobbity Boo (The Magic Song)
3. Searchin’
4. Shoo Turkey!!
5. Ragg Mopp
6. When The Red, Red Robin Comes Bob, Bob, Bobbin’ Along
7. Movin’ On
8. This Little Light Of Mine
9. One More Hour
10. Skinnamarink

Elephant Show Stoppers! is scheduled to be released on September 27, 2024.

Rebecca Pidgeon: “Songs Of L.A.” (2024) CD Review

Before I ever visited Los Angeles, and long before I moved here, I felt like I knew something about the city through all the songs I’d heard voice its praises and also its drawbacks. More than through images in movies, it was music that shaped my idea of what Los Angeles was. And even now, I feel like much of what I experience is colored by those songs. Just yesterday I referred to a line from Neil Diamond’s “I Am…I Said,” wishing I’d found it to be true when I moved here: “Palm trees grow and rents are low.” Well, sure, the first part of that sentence is true. There are many songs about this great city, all of which are more accurate than that line. Rebecca Pidgeon’s latest release, Songs Of L.A., is inspired by this city, and in particular by Hollywood, and some of the wild stories of the film industry. Each song is like a short story on its own, and fits inside a larger context. And certainly it makes sense for her to tell these stories, for in addition to being a talented singer and songwriter, Rebecca Pidgeon is an accomplished actor, having performed in some seriously fantastic films, including The Spanish Prisoner, State And Main, and RED. All the songs on this album are originals, most of them written by Rebecca Pidgeon and David Batteau. David Batteau also plays guitar and provides backing vocals on this album. The album was produced by Rebecca Pidgeon and Fernando Perdomo, and Fernando Perdomo plays bass, guitar and keyboards, and also provides backing vocals. Rebecca Pidgeon plays guitar and keyboards. Matt Tecu is on drums, and Andy Studer is on strings.

Rebecca Pidgeon opens the album with “Happy Bottom Club,” the song’s title referring to the Happy Bottom Riding Club that was operated by Florence “Pancho” Barnes, an aviator who worked on the 1930 film Hell’s Angels. This song is about that Howard Hughes film. There is a darkness to its sound, which is intriguing and alluring, and at times it feels like we are descending into a strange lair. Her vocal performance is equally alluring. “Come sit down and let me kiss you/That poor chump is not an issue.” There is something haunting about this song. “Back into black and white/Hell’s Angels take the skies.” And speaking of flying, the next song is titled “Everybody Learning To Fly.” It begins with a solid, strong beat. There is something oddly catchy about this song, particularly in the vocal line. “Can’t see straight in the state I’m in/My skirts slips/Off of my hips/Look, you can eat right off of my skin.” This song takes us in some interesting directions. Rebecca Pidgeon can really craft a song. “Something is happening, more than a wish.” This song is inspired by the Italian film I Knew Her Well, about a young woman who wishes to be a star, to be the center of the party.

“Valjean” has a classic sound, taking us back to the late 1950s, early 1960s. How can you help but love that rhythm? This song too refers to flying in the line “Pan Am once was it.” The song takes place in the valley, mentioning, in addition to Valjean Avenue, Sherman Way in these lines: “But now everything is gone/Like our romance, just another surfer’s song/It echoes down Sherman Way.” These lines also stand out for me: “Holding court in your living room/I was waiting for my turn/You were in the only chair.” That’s followed by “Big As The Sea,” in which she sings, “Some other shell, some other ghost/Some other coast, some other well.” This track features some beautiful work on violin and some cool work on bass. That instrumental section is almost as fascinating as her vocal performance. “You are as big as the sea/Breaking.” As the song is reaching its conclusion, Rebecca returns to the song’s first lines, this time delivering them as spoken word: “Some other way, some other time/Some other place, some other hill/Some other bead, some other chain/Some other kill, some other look.”

“Murder In My Room” is an energetic number that is in part about that famous scene from The Seven Year Itch, when the breeze from the subway lifts Marilyn Monroe’s dress. She and Tom Ewell have just left the movie theater where they saw The Creature From The Black Lagoon, and Marilyn expresses some sympathy for the creature. Hey, we all crave a little affection, don’t we? This song also makes a nice reference to Invasion Of The Body Snatchers: “Body snatchers of L.A./Taking back my bones today/Moon above the Hollywood sign/Laurel Canyon is mine.” There are some roads that I still sometimes get excited to drive upon, and one of those is Laurel Canyon Blvd., because of the musical history of that particular street (more than about the Wonderland murders or the murders on nearby Cielo Dr.). Then “Cry” immediately develops a delicious groove. There is a playful quality to this song. “Welcome to my movie/Welcome to my side of the bed/Five o’clock in the morning, honey/I woke with a feeling of dread,” Rebecca sings at the beginning. And there is a wonderful power to her delivery of the chorus. This is the only song on the album not co-written by David Batteau. It was co-written by Rob Sedgwick.

“Magical Blend” begins with a good rhythm, and features a great bass line. This one mentions the Silverlake section of Los Angeles where I used to see a lot of concerts. Whatever happened to Spaceland? And there was the Silverlake Lounge, where the sound was never quite as good as it could have been, but where some damn good bands played. There is a dreamlike quality to this song, and a beautiful vocal performance. It is followed by “12733,” another interesting song, grabbing us with those first lines, “Baby, you got me tied up/That’s no way for you to treat a child of God.” Plus, there is a strong energy to this track, and it features another great bass line. “I like to dance/I like to go out/I like to rumba/From Billy Graham/To Thorazine.” By the way, I assume the song’s title is an address in the valley, because of the line “I’m between Aldea and Louise.” Then the lyrics of “Una Y Otra Vez,” a song with a catchy rhythm, interestingly contain the title of the next song in the line “Eyes wide open halting breath.” “Eyes Wide Open” begins with the line “Eyes wide open holding court,” and “holding court” is a phrase Rebecca also used in “Valjean.” This helps to draw all these songs, in a subtle way, into one strong experience for the listener, tying the songs and stories together in our minds. These lines from “Eyes Wide Open” also stand out: “Wish I was a drop of sweat/I would run down your neck.”

“China Lake” has a dreamy vibe, and it mentions the Sunset Strip early on: “I’m taking Sunset west/Through the strip.” So much of our lives in this city is spent in our cars, and for that reason certain roads are as iconic as buildings and other structures might be in other cities. Who doesn’t know Sunset Blvd.? This track features some particularly beautiful vocal work, which sometimes has an ethereal quality. The album concludes with “Sex Magic,” an unusual song, in part because of the way Rebecca delivers the lyrics of that opening section, “Sailor on the pier/Carnival grotto.” That unusual delivery grabs us. And, yes, there is a sort of carnival sense to this one at moments, as well as a bit of a psychedelic vibe. There is also some wonderful work on strings, and there is a great beauty to Rebecca’s vocal performance, particularly on the chorus.

CD Track List

1. Happy Bottom Club
2. Everybody Learning To Fly
3. Valjean
4. Big As The Sea
5. Murder In My Room
6. Cry
7. Magical Blend
8. 12733
9. Una Y Otra Vez
10. Eyes Wide Open
11. China Lake
12. Sex Magic

Songs Of L.A. was released on February 23, 2024.

Grateful Dead: “Dave’s Picks Volume 51” (2024) CD Review

The new volume in the Dave’s Picks Grateful Dead concert series contains the complete show the Dead played on April 13, 1971, along with the entire second set from the previous show and a portion of a set from the band’s October 24, 1970 show.  Yes, this release’s main show is not very long, though funnily enough a photo of the concert poster included in the packaging promises “an exclusive 3 hour performance” (well, perhaps if you include the New Riders set in your equation). Well, it may not be long, but it’s pretty damn good, featuring excellent renditions of “Loser,” “Hard To Handle” and “Good Lovin’.” And the short length of the show gives us a chance to enjoy music from two other nights. By the way, if you love “Casey Jones,” you are in luck, for there is a version of that song on each of the three discs.

Disc 1

The first disc contains the entire first set from April 13, 1971, a show the band played in Scranton, Pennsylvania. They band kicks things off with “Casey Jones,” getting the show off to an energetic start. During the final section of the song, the band barrels though, so get out of the way. It doesn’t seem like there’s any trouble ahead. After a bit of tuning, the band goes into “Mama Tried,” which features a rather sweet vocal performance by Bob Weir. We hear in his performance some care for the mama of the song, like he’s acknowledging that he’s done her wrong, that he’s failed her. But don’t worry, he does dig in at moments. More playful tuning follows, and then Jerry Garcia mellows things a bit with “Loser,” in which he asks for only one gold dollar (rather than the later ten). This is a moving, passionate rendition, with good peaks and valleys, building to some great moments. The character of the song is vivid, striking and real.

Pigpen then takes over, delivering a really good rendition of “Big Boss Man,” featuring some great stuff on harmonica, and a wonderful grove. That later section when the harmonica and guitar are both shining is particularly good. Bob gives us another sweet vocal performance on “Me And Bobby McGee.” That song makes me want to hit the road with my girlfriend, see where it will take us, the guitar like a sentient engine, like the sun, helping us on our way and keeping us safe. And that final section seems to welcome all of us who are making the journey. There is a hint of “Bertha” before the band launches into the song, raising the energy again, picking up the pace, leading another round of the great dance. Everything is in motion, within and without, and even if this guy is thrown into a jail cell, he’ll be out again before we know it. Nothing can remain in one place for longer than a moment. The crowd is completely energized now, and eager for more.

There is an unusual start to “Cumberland Blues,” and soon the song is chugging along, and everything feels right, Phil Lesh’s bass showing us the way, which is certainly not always straightforward. Rather, the instrument takes us up and over and around this way then that, watch your step, lift those legs a little higher. Everything is working. “Make good money, five dollars a day.” “We’re experience a minor technical difficulty,” Bob tells the crowd, but promises that the difficulty will be overcome. And indeed, a moment later the band bursts into “Big Railroad Blues,” and the energy is high. There is a heat in the air, seconds away from igniting and jettisoning us all out into space in a joyous red cloud, something we can ride into eternity, or at least around the next beautiful bend. Around that bend, Bob leads everyone into “Playing In The Band.” As it begins, there is that sense that it could take us up and out, and in a hurry, like a lightning bolt. But this is 1971, and the song isn’t yet the monster it would often become. But bits of that desire are there, and can be heard, the monster eager to be loosed upon the stratosphere.

Pigpen brings everything back to earth with “Hard To Handle,” making the action, the dance, physical rather than cerebral. Pigpen is fantastic here, pushing things forward. And holy moly, Phil’s bass has a great power during the jam, giving the thing a shape, a mass. What a strong, forceful jam, certainly a highlight of the first set. The set then concludes with “Sugar Magnolia,” a song that never fails to please. Once again, the energy is high, and that rhythm drives things forward. This thing cannot be slowed. And in that final instrumental section, the beast rushes forward, changing the contours of mountains, rearranging the genetic makeup of the landscape. And somehow the “Sunshine Daydream” section has even more energy. How? Is the sound a bit weird at moments, sort of fuzzy, or is it me? Well, either way, that’s the end of the set.

Disc 2

The second disc contains the complete second set from the April 13, 1971 show, as well as the encore, along with filler from the middle of the October 24, 1970 show in St. Louis. The second set kicks off with “Truckin’,” another crowd-pleaser and great way to set things back in motion, a song about the troubles of the road and being able to continue on past them. Check out those special touches by Jerry on guitar. At this point, the band, audience and even the venue itself are all part of some great vehicle pushing out into new territory, everyone getting a chance at the wheel. Sharp turns are taken with eyes wide open, more to take in the results rather than to discern possible troubles, and certainly not out of fear, what, with so many friends around. So when things begin to get strange, it’s okay, and a drum solo soon emerges, putting us back in touch with our bodies. This is just Bill Kreutzmann on drums, Mickey Hart having left the band just two months earlier. This is a delicious drum solo, solid, strong, eager, with Billy dancing back there. That leads straight into “Good Lovin’” with Pigpen and the rest taking the dance up another level. It isn’t long before the jam takes off to places unexpected and themes unusual during this song. Hey, there are many different vehicles that can take us into those outer areas. Gold and silver sparkle along the walls, and we brush our fingers against those metal rivers. Pigpen is there again to tell us all that we need. And like a preacher delivering his own peculiar service, Pigpen draws us together and rouses our spirits from a more static state. This has become a song on its own, quite apart from that other song where it got its start. But then the change is perhaps realized, and we return to the orbit of “Good Lovin’.” This is Pigpen’s realm through and through. The dance takes on a precise focus, like a drill into the Earth’s core. And what is that song they seem to stumble upon like fourteen or fifteen minutes in? The band bursts into the main song again, and at this point our skin is partially made of fire.

After a little pause, the band starts, “I Second That Emotion,” a song that Jerry Garcia Band did a lot but which the Dead did only seven times, all in the spring of 1971. Not sure why the Dead didn’t continue covering this one, because the band delivers a fun rendition here, Jerry letting his guitar take a verse. There is a cool opening to “Greatest Story Ever Told,” this version seeming like an arrow heading for its target. It’s a seriously good rendition, and it leads straight into “Johnny B. Goode,” a nice segue, the band rocking and delivering a fiery conclusion to the set. The encore is a nice version of “Uncle John’s Band.” It begins gently, a friend seeing how we’re doing. This song feels so good. And that’s how the show ends.

This disc then takes us back to October 24, 1970 for a middle portion of that show. The bulk of this concert was included on the third disc of Dave’s Picks Volume 48, released in late October last year. So with the five tracks included here, the complete show has now been released. This section begins with a cool rendition of “Me And My Uncle.” There is just a bit of stage banter then before the band goes into “Friend Of The Devil,” and this is when it was still delivered at a reasonably fast pace. That’s followed by “Cold Rain And Snow” and then “Attics Of My Life,” a treat. After a moment, they count off “Casey Jones,” the band delivering another energetic rendition. If you are piecing this together with that third disc from Volume 48, most of it comes after “It Hurts Me Too,” but “Casey Jones” comes after “Good Lovin’.”

Disc 3

The third disc contains the entire second set from the show the Grateful Dead played on April 12, 1971 in Pittsburgh, Pennsylvania. After a lighting adjustment is made, the band kicks off the set with “Truckin’,” same thing as the next night. But, really, with the Dead nothing is ever quite the same. And we can hear differences right away. Does this one have a more playful attitude at moments? Each trip is different, isn’t it? This song welcomes us back to the road with a wide smile. During the jam, the band is drilling holes in the sky, the heavy machinery having to be used now and again, you understand. Things relax a bit before they tell us again that they’re heading home. And soon it explodes with energy again. There are half-strangled calls of “Whoa,” and the band gives us a touch of “The Other One” before Bill takes over on drums. Ah, but we all know where this is leading. And it is Billy’s job to get us there, first tossing our bodies around with electric gloves, helping us feel a part in something before the beast is awakened. Phil’s bass roars, like its head is rising from the dirt, conjured by a dozen wily magicians in robes made from a dragon’s tongue. And as they circle around the middle, the spell gets away from them, taking on its own life, and all they can do is watch. No, they can cheer it on, and so they do. Perhaps then it won’t stomp on them on its way outward. The guitars seem to gain control over it, and we can hear it swaying like a cobra. Soon they are joined, not master and servant, but each under the spell of the other, engaged in a hypnotic dance, and never straying too far from the beast’s natural lair. If we follow joyous sprites through certain walls and down some exciting alleys, we find the heart still beats at the end of each one. So let it run wild, as the band does here, leading to the song’s second verse.

That leads into “Wharf Rat,” all of us splashing slowly in the mire, but with light all around us. And all of us with the “time to hear his story.” Oh yes, it gets soft, intimate, as if holding its breath while we get a new start. Then the great weight is lifted so he can get up and fly away. The guitar takes us to some interesting places, cutting them out from a tapestry of possibilities. After an adjustment, Bobby leads the group into “Me And Bobby McGee,” delivering a good rendition, making us feel these characters are with us. The band then gives us the third version of “Casey Jones” of this three-disc set, not that I’m complaining. This one will have you dancing and feeling good. At the end, it takes us with more and more force forward through any and all barriers. The band keeps spirits high with “Sugar Magnolia,” and before the end is stomping at the gates of the afterworld, demanding entrance, if only to put on one hell of a dance there. “Deal” begins to grow its own power, Jerry pulling notes from an intricately woven patch of sky, without jeopardizing the image.

Billy leads the group into “Not Fade Away,” a song that became an anthem of sorts for the whole community as the years progressed. For now, it’s a good one to get your feet moving. It’s a fairly short “Not Fade Away,” yet the boys still manage to jam on it a bit before segueing into “Goin’ Down The Road Feeling Bad.” This one has an easygoing vibe, but builds at moments to great energy and power. The set then concludes with a rousing rendition of “Turn On Your Lovelight.” Listen to the way the boys echo Pigpen. There is a spiritual bent to that delivery, a street preacher wisdom, that makes echoing make perfect sense. The answers are here. And then at one point Pigpen’s vocals are supported by just drums, adding to that vibe. This track features some fantastic jamming, restraining from becoming a total beast and instead dancing, gathering more and more energy as it flies to its conclusion.

CD Track List

Disc 1

1. Casey Jones
2. Mama Tried
3. Loser
4. Big Boss Man
5. Me And Bobby McGee
6. Bertha
7. Cumberland Blues
8. Big Railroad Blues
9. Playing In The Band
10. Hard To Handle
11. Sugar Magnolia

Disc 2

1. Truckin’ >
2. Drums >
3. Good Lovin’
4. I Second That Emotion
5. Greatest Story Ever Told >
6. Johnny B. Goode
7. Uncle John’s Band
8. Me And My Uncle
9. Friend Of The Devil
10. Cold Rain And Snow
11. Attics Of My Life
12. Casey Jones

Disc 3

1. Truckin’ >
2. Drums >
3. The Other One >
4. Wharf Rat
5. Me And Bobby McGee
6. Casey Jones
7. Sugar Magnolia
8. Deal >
9. Not Fade Away >
10. Goin’ Down The Road Feeling Bad >
11. Turn On Your Lovelight

Dave’s Picks Volume 51 was released in late July. My copy arrived on July 29, 2024. It is limited to 25,000 copies. Mine is number 14079.