Cannonball Adderley With Milt Jackson: “Things Are Getting Better” (2013 re-issue) CD Review

Concord Music Group, as part of its Original Jazz Classics Remasters series, is re-issuing Things Are Getting Better from Cannonball Adderley with Milt Jackson. This album, recorded on October 28, 1958, also features Wynton Kelly on piano, Percy Heath on bass, and Art Blakey on drums. Yeah, it’s a pretty amazing group of musicians. Milt Jackson is of course known for his work in Modern Jazz Quartet.

This re-issue includes three bonus tracks that were not on the original LP, including a short track of banter in the recording studio. The re-issue also features new liner notes by Willard Jenkins, as well as the original liner notes by Orrin Keepnews. The album was remastered by Joe Tarantino.

Things Are Getting Better opens with a Milt Jackson composition, “Blues Oriental,” which features a really cool intro with an oriental feel, before Jackson takes the lead on vibes. This tune has a great blues base, and from there Adderley blows freely, loosely, beautifully. Wynton Kelly also provides some really cool work on piano, and I particularly like the way he and Milt Jackson work together toward the end of the track.

“A Few Words” is some banter during the recording process. Cannonball says, “I don’t know how long it will be because that’s not important.” Pretty cool. This was not included on the original album.

“Things Are Getting Better,” the title track, is a composition by Adderley and D. Veronica Langdon. It’s a catchy tune, with a kind of sweet, positive sound, due in large part to Milt Jackson’s work on vibes setting the tone at the beginning. And then Adderley’s playing is particularly impressive. This track was (deservedly) included on The Very Best Of Cannonball Adderley, released last year by Concord Music Group.

“Serves Me Right” is a sexy, late-night tune written by Buddy Johnson. Art Blakey keeps the brushes active on the snare while Percy Heath gives a simple, but great groove on bass. Cannonball’s lead section is truly beautiful at times. This is the fifth take. The CD also includes the fourth take, which is slightly shorter, but just as cool.

The album includes a fun rendition of Dizzy Gillespie’s “Groovin’ High” with that call and response, and some fantastic work by Cannonball over a great groove by Percy Heath on bass.

This CD contains two takes of “The Sidewalks Of New York,” written by Charles B. Lawlor and James W. Blake. The first take features some spirited playing by Milt Jackson, and some interesting stuff by Art Blakey on drums. There is also a sweet lead by Wynton Kelly on piano. The bonus take, take #4, is significantly shorter. Is it just me, or does Percy Heath seem more prominent in the mix on this take?

“Sounds For Sid,” the Cannonball Adderley composition, opens with some solo blowing by Cannonball. And then Milt Jackson takes the lead over a kind of slow, persistent groove. And then Cannonball takes over. When he finishes his lead, Wynton Kelly’s lead on piano so naturally emerges, at first simply continuing what he was playing under Adderley’s lead, and then taking it from there. This is a really cool track, and is one of my personal favorites.

The original album ends with a nice, fast rendition of Cole Porter’s “Just One Of Those Things.” I just love what Cannonball does on this one. And Art Blakey gets a bit loose on the drums at times, adding some delicious rolls. And check out Wynton Kelly’s lead on piano.

CD Track List

1. Blues Oriental
2. A Few Words
3. Things Are Getting Better
4. Serves Me Right (Take 5)
5. Groovin’ High
6. The Sidewalks Of New York (Take 5)
7. Sounds For Sid
8. Just One Of Those Things
9. Serves Me Right (Take 4)
10. The Sidewalks Of New York (Take 4)

Things Are Getting Better was released on July 23, 2013 through Concord Music Group. Also released on that date were Bill Evans Trio: How My Heart Sings!, Chet Baker: Plays The Best Of Lerner And Loewe, Thelonious Monk/Gerry Mulligan: MulliganMeets Monk, and Wes Montgomery: So Much Guitar!

Also released in this series was Know What I Mean? by Cannonball Adderley with Bill Evans (which also features Percy Heath on bass).

George Thorogood And The Destroyers: “Move It On Over” (1978/2013 re-issue) CD Review

Move It On Over is the second album by George Thorogood And The Destroyers, originally released in 1978. It is now being re-issued by Rounder Records. Like their first record, this one features a couple of Elmore James songs, and a Bo Diddley tune. Unlike the previous release, this one has no original material by George Thorogood.

The album opens with “Move It On Over,” the title track, which is the song I most associate with George Thorogood. I remember how shocked I was to learn it was a Hank Williams song. George Thorogood totally owns it, really makes it a great rock and roll tune, one that's fun to dance to. “She changed the lock on my back door/Now my key, it won’t fit no more.” By the way, this totally holds up. It feels like it hasn’t aged at all. The guitar is still great fun.

George Thorogood does a kick-ass job on “Who Do You Love?” On his first album, George Thorogood covered “Ride On Josephine,” proving he’s right at home with the Bo Diddley beat. He more thoroughly immerses himself in it on this track. This version has the line, “Got the good time music with a Bo Diddley beat.”

Things get much more bluesy with the band’s cover of the Elmore James song “The Sky Is Crying.” On the first album they covered James’ “Madison Blues” and “Can’t Stop Lovin.’” I actually think their take on “The Sky Is Crying” is even more effective. I really love some of the guitar work on this song – George Thorogood does some truly interesting stuff.

And then he does a great job on “Cocaine Blues,” the country tune made famous by Johnny Cash. And yes, he does it as country. It’s a perfect song for him, for it has that great attitude, and George Thorogood is a guy who can sell it. Of course, it’s tough to follow Johnny Cash and suffer the comparisons, but he does a damn good job with it. He gives just a slight pause before the phrase “dressed in black,” the phrase most associated with Johnny Cash.

George Thorogood goes from country to straight rock and roll with “It Wasn’t Me,” a fast-paced Chuck Berry tune. It’s good, but doesn’t quite capture the humor of Chuck Berry. Also having an old rock and roll vibe (though a much slower number) is James Moore’s “I’m Just Your Good Thing.”

This album includes an upbeat version of “That Same Thing,” a song written by Willie Dixon. I’m used to meaner, slower renditions (like that by the Grateful Dead). This one is not as bluesy as a lot of versions. And though I prefer slower versions, this one is still pretty cool.

The album closes with its second Elmore James tune, “New Hawaiian Boogie.” This is more of a rock tune, with a bit of spoken word vocals, but mainly just a good driving beat and some fun work on guitar.

CD Track List

1. Move It On Over
2. Who Do You Love?
3. The Sky Is Crying
4. Cocaine Blues
5. It Wasn’t Me
6. That Same Thing
7. So Much Trouble
8. I’m Just Your Good Thing
9. Baby Please Set A Date
10. New Hawaiian Boogie

Move It On Over is scheduled to be released on July 30, 2013 on Rounder Records. Also to be re-issued on that day is George Thorogood And The Destroyers, the band’s first album.

George Thorogood And The Destroyers: “George Thorogood And The Destroyers” (1977/2013 re-issue) CD Review

George Thorogood And The Destroyers covered a lot of traditional and classic blues numbers. But when I was a kid, it was these Thorogood versions that often served as my introductions to these songs. So these recordings definitely have a special place in my own personal music history. And I think it’s the same for a lot of folks. Plus, Thorogood and the rest of the band have so much damn fun with these tunes. It’s not just blues, of course, but rock and roll and even folk. And there are a couple of original tunes as well on this self-titled debut album, which is now being re-issued by Rounder Records.

I always dug George Thorogood’s voice. There is something really tough about it – a voice with an attitude, a voice that will drink your liquor and run off with your girl, but also a voice that if caught will replace your booze and introduce you to his sister.

They kick off the album with “You Got To Lose,” a good, straight-forward bluesy rock number written by Earl Hooker. It starts, “You got to lose/You can’t win all the time.” So true. This song is addressed to a woman, and he promises her he’ll be back on his feet soon. As you’d expect, this track features some cool work on guitar, particularly at the end.

That’s followed by “Madison Blues,” a catchy number written by Elmore James. This is about the groove, however, not the lyrics. It has a false ending. George Thorogood And The Destroyers also cover Elmore James’ “Can’t Stop Lovin’” on this album.

“One Bourbon, One Scotch, One Beer” is the big one, of course. George Thorogood begins it by saying, “I want to tell you a story,” and indeed he does. It’s the story of a man who loses his job and can’t pay the rent, and has to keep stalling, putting off the landlady. He delivers the story in a spoken word style, over a steady, fast simple rhythm. There is a short section where he asks a friend if he can stay with him, but his friend’s wife won’t let him. That part always makes me laugh. He says, “He said, I don’t know, man, she’s kinda funny and all. I said, I know, everybody funny. Now you funny too.” He takes off with his stuff since he can’t pay the rent. So of course he stops in a bar – and three and a half minutes in, when the bartender asks him what he wants, the song really starts, and it’s just great. This is one seriously fun track, with some cool, kind of humorous work on guitar, especially near the end. It’s like the guitar has taken over telling the story. The track is eight and a half minutes, and yet somehow ends too soon.

George Thorogood follows that with a very cool acoustic version of Robert Johnson’s “Kind Hearted Woman.” This is real blues, vocals and guitar, and it’s excellent. He also does a really wonderful acoustic version of “John Hardy,” complete with harmonica, showing he can do folk too. It’s interesting, because these aren’t the tracks we usually think of when we think of George Thorogood, but these are among the best on the album.

I’ve always been a big fan of that great Bo Diddley beat, and on this album George Thorogood And The Destroyers cover Bo Diddley's “Ride On Josephine.” This is a cool track, with a nice jam section.

George Thorogood wrote two of the songs on this album. The first of the two originals is “Homesick Blues,” in which Thorogood sings, “My guitar is my partner and the highway is my friend.” This track has a bit of an early rock and roll thing going on, as well as being steeped in the blues. The second George Thorogood original is “Delaware Slide,” and this is a tremendous tune, a great dish of blues rock. He explains himself in the line, “Well, I grew up with the rock and roll, but these blues wouldn’t leave me alone.” He plays around with several themes in the guitar lead section in the second half of the song.

CD Track List

1. You Got To Lose
2. Madison Blues
3. One Bourbon, One Scotch, One Beer
4. Kind Hearted Woman
5. Can’t Stop Lovin’
6. Ride On Josephine
7. Homesick Boy
8. John Hardy
9. I’ll Change My Style
10. Delaware Slide

Musicians

The band is George Thorogood on vocals, electric guitar, acoustic guitar and harmonica; Jeff Simon on drums; and Billy Blough on bass. Ron Smith plays guitar on some tracks.

George Thorogood And The Destroyers is scheduled to be released on July 30, 2013 through Rounder Records. Also scheduled for release that day is the band’s second album, Move It On Over.

Leftover Cuties: “The Spark & The Fire” (2013) CD Review

This continues to be a surprisingly good year for music with the release of Leftover Cuties’ second album, The Spark & The Fire, an impressive collection of songs combining jazz, pop and swing, with excellent lead vocals. This band is in the same general realm as the Squirrel Nut Zippers, in as much as they take some older styles and apply them to modern pop. And they do it so well. This band also writes great material. All of the songs on The Spark & The Fire are originals. In “Once Again,” lead vocalist Shirli McAllen sings, “Again I arrive overjoyed/And I leave completely destroyed.” I like the way she plays with the word “destroyed.” When she sings later in that same song, “Still I wonder what we could have been,” the horn soars, as if in answer.

The songs are really well-constructed, and have an original feel in spite of being influenced by older styles (including some elements of early 1960s rock, like the drumbeat to “What’s The Matter?”). This album put me in such a good mood. Seriously, if you’re feeling a bit low, put this on, and within a couple of minutes you’ll be dancing (or at least smiling) your woes away. Part of that is due to the New Orleans influence heard in several of the tracks. I’m looking forward to seeing this band in concert.

The album opens with “Thick And Thin,” which is a bright burst of fun, with a bit of an old-time swing that is delightful, and even a bit of an early rock and roll groove. And it’s a love song with a happy, positive vibe, a song above not giving up, with lines like, “I’m going to fight for you until we get it right.” This song also provides the album’s title in the lines, “Now it breaks my spirit, it makes me so sad/To think of the spark and the fire we once had.”

“One Heart” starts with a great groove on percussion, with Shirli’s vocals soon coming in over the cool rhythm. And when the song truly kicks in, her vocals become even more impressive. Seriously, this is a great vocal performance. Shirli has a lot of power, a lot of control. And the lyrics are pretty damn good. “The words you never said, they haunt me/The ones you did were as sharp as a knife.” And this song asks, “How many times can one heart break?”

Shirli gives another excellent vocal performance in “Clarity,” a cool, late-night song that is simply gorgeous, and quite moving. Here is a taste of the lyrics: “Oh babe, I wish you knew how beautiful you are/I wish you’d see yourself only through my eyes/Then you’ll know in time this too shall pass.” There is a quiet moment with just vocals and ukulele, on a later repetition of the line “Oh babe, I wish you knew how beautiful you are.” This song itself is so beautiful, and is one of the album’s best tracks.

“If Only It Could Be” is a great jazzy gem that is tremendous fun, with a great 1940s vibe. It has a great groove on bass and drums, and a totally fucking delicious instrumental section. There is also a playful ending that makes me love the song even more. This is another of the CD’s best tracks, and one of the year’s coolest tunes.

“Blind Man” provides more great vibes and grooves from the past, but also with a very original feel, and another wonderful vocal performance. I love the way this song builds and progresses, and I’m particularly fond of the work on keys. “You’re a blind man/Though you can clearly see/You’re a sad man/Without any reason to be.”

“Shame” begins with a seriously cool groove on bass by Austin Nicholsen. There is something very sexy about this song, in the bass, and especially the vocals. The first lines are, “And to think I almost didn’t meet you/I almost didn’t know you exist.” I imagine her in a long, slinky red dress singing in a small club after hours, holding each patron spellbound. The song has that kind of feel. Yes, it’s another of my favorites.

“Everyone” is an old-time New Orleans-style drinking song. And is there anything better in this world? It’s totally delightful. Shirli sings, “Everyone is a little crazier this time of year,” and lunacy has never sounded so appealing. This track features backing vocals by Kate Nicholsen, Tamara Watford, Clayton Joseph Scott and Kelly Johnson, and has something of a party atmosphere, particularly at the end.

The Spark & The Fire ends with “I’ve Been Waiting,” a pretty and sweet tune. This is one that really highlights Shirli’s vocal performance. When it kicks in, it has an early 1960s feel.

CD Track List

1. Thick And Thin
2. One Heart
3. Once Again
4. Clarity
5. If Only It Could Be
6. All That Love
7. What’s The Matter?
8. Blind Man
9. Rise And Shine
10. Shame
11. Everyone
12. I’ve Been Waiting

Musicians

Leftover Cuties are Austin Nicholsen on upright bass, ukulele and backing vocals; Mike Bolger on brass, keys, accordion and backing vocals; Shirli McAllen on vocals and ukulele; and Stuart Johnson on drums, percussion and backing vocals.

Joining them on this release are Alex Budman on woodwinds, Ben Peeler on steel guitar, Jake Sinclair on guitar, and Kate Nicholsen on harmony vocals. Tamara Watford, Clayton Joseph Scott and Kelly Johnson provide backing vocals on “Everyone.”

Leftover Cuties are based in Los Angeles (and for that, I am grateful, as it should give me plenty of opportunities to see them perform).

The Spark & The Fire was released on July 23, 2013.

(Note: I also posted this review on Pop Culture Beast.)

Thelonious Monk/Gerry Mulligan: “Mulligan Meets Monk” (2013 re-issue) CD Review

Concord Music Group, as part of its Original Jazz Classics Remasters series, is re-issuing Mulligan Meets Monk, the only record by Thelonious Monk and Gerry Mulligan. The album features mostly Monk’s material, with one Mulligan composition, and one cover. These tracks were recorded in two days in August of 1957, and feature Wilbur Ware on bass and Shadow Wilson on drums. This re-issue includes four bonus tracks, being different takes of some of the original album’s material.  The album was re-mastered by Joe Tarantino, and the re-issue features new liner notes by Neil Tesser, as well as the original liner notes by Orrin Keepnews.

They kick off this album with Monk’s famous “’Round Midnight,” which begins with some interesting stuff by Thelonious Monk on piano, before getting to that smooth, cool, moody lead by Gerry Mulligan on baritone saxophone. It’s a truly interesting combination, with Monk providing little punches below Mulligan’s sax. And toward the end Monk takes a lead spot, which is great. I love the moment when Mulligan eases back in, on some sweet, sustained notes. It’s a really good rendition of this classic composition.

Things get more wild with “Rhythm-A-Ning,” another Monk original, which Mulligan jumps right into and where he seems right at home. Monk does really interesting, fun stuff in his lead section. But the section where they both add short exclamations over that great rhythm by Wilbur Ware on bass and Shadow Wilson on drums is my favorite part of the track.

“Sweet And Lovely” is the album’s one cover, a song written by Jules Lemare, Gus Arnheim and Harry Tobias. I love the way Mulligan holds onto those low notes during Monk’s lead section. It’s subtle, but kind of beautiful. And his later lead section is just as the title promises, sweet and lovely.

“Decidedly” is the only Gerry Mulligan composition on this disc. It’s a fun tune, with these really cool moments of Mulligan blowing over just a few hits on the drums by Shadow Wilson. There are moments where Mulligan’s playing feels a bit like early rock and roll. And I love what Monk does over that cool groove. There is even a nice lead on bass by Ware over a steady beat on the hi-hat. And there is a short drum solo. The bonus tracks include a different take of this tune. For some reason, this other take strikes me as humorous at moments, in a delightful way. And the bass lead is more of a solo, without the constant hi-hat keeping time.

“Straight, No Chaser” is another Monk original composition. This is the tune that kicked off the recording sessions, and the bonus tracks include the first take. I love Mulligan’s lead section in the take used on the album. There is something cool, almost sly, about certain moments of it. And then he really just lets go, clearly having fun. The bass lead is interesting, beginning somewhat tentatively, quietly. And I love Monk’s lead. The first take is quite a bit shorter.

The album concludes with “I Mean You,” written by Monk and Coleman Hawkins. This song has a good groove, and some excellent work by Monk on piano. It’s the fourth take that was used. This re-issue also includes the first two takes as bonus tracks.

CD Track List

1. ‘Round Midnight
2. Rhythm-A-Ning
3. Sweet And Lovely
4. Decidedly (Take 4)
5. Straight, No Chaser (Take 3)
6. I Mean You (Take 4)
7. Decidedly (Take 5)
8. Straight, No Chaser (Take 1)
9. I Mean You (Take 1)
10. I Mean You (Take 2)

Mulligan Meets Monk was released on July 23, 2013 through Concord Music Group. Also released on that date were Bill Evans Trio: How MyHeart Sings!, Chet Baker: Plays The Best Of Lerner And Loewe, Cannonball Adderly with Milt Jackson: Things Are Getting Better, and Wes Montgomery: So Much Guitar!

Previously released in this series were Monk’s Music, Thelonious Alone In San Francisco and Misterioso.