The Stone Hill All-Stars: “Wilson Comes Home” (2017) CD Review

The country is a mess, and once again I am turning to music for sanity, for joy, for reason, for relief. Today I turn to The Stone Hill All-Stars, a band I’ve been enjoying for several years, a band I can count on to provide excellent, well-written material to lift my spirits. Wilson Comes Home, the group’s latest release, features all original material, written or co-written by Paul Margolis. The Stone Hill All-Stars are John Shock on accordion, piano and vocals; Paul Margolis on guitar, bass and vocals; Dan Naiman on saxophone and bass; Hoppy Hopkins on drums and percussion; and Tim Pruitt on guitar. On this release, they are joined by a few guest musicians.

The album opens with one of its best tracks, “Just These Things,” which has a delicious Latin rhythm, and lets that rhythm develop into something wonderful, for a moment making me think it might be an instrumental track. But then a minute into the song, the vocals begin, and then the song just gets better. I love the straight-forward vocal delivery here. “Let the road run a little longer/It doesn’t have to run forever/That I could go back and say things better/Answer each and every one of your letters/Unfettered, time suspended/Just these things and nothing more.” I love that work on guitar in the second half of the track, and of course the horn. Saxophone and accordion are a great combination, don’t you think? What a delight this track is. It’s followed by “Hammer In Her Hand,” a more serious song which tells a story, creating vivid characters and a relationship through some strong, key images, like “And sweat stung both her eyes” and “He spent a month in rehab in a wheelchair” and of course “She had a hammer in her hand.” Check out these lines: “She had slowly come to fear/The worst of it was drawing near/Maybe he grew tired of hearing/The list of all her grievances/Spent more time on fishing/And his periodic binges.”

“The Mark Of A Man” immediately announces itself as more fun, with elements of ska, a rhythm to get you moving. And yet, it still has something to say. “What keeps us from going under/What keeps us from going numb/He’s well aware/He’s halfway there.” But perhaps the best part of this track is the saxophone over that rhythm. That’s followed by “To Be Her Man,” one of my favorites. I love the sweet folk rock vibe established right at the beginning. There is another well-defined character here, with details like “She leans backwards when she dances” and “She slouches when she stands” creating a clear image of her in the listener’s mind. Some of the lyrics are delivered almost as spoken word, putting those lines and details into stronger focus, and these sections segue naturally from and back to the other sections. I just completely love this song.

“Soft As A Sponge” has a lighter, fun tone, emerging brightly from the previous track (several of the tracks flow into each other), with some breezy work on drums. Again, this band delivers well-crafted characters, with charming details like “But she won’t see a doctor or try medication/Her eyes the most beautiful dilated hazel.” Yeah, this album features some excellent songwriting. “Viscous Meniscus” is another delight.  This is the second song with the word “meniscus” in the title that I’ve heard in the last week or so. Was that word always used in songs, and I just missed it? I am much more aware of the word these days, after tearing the medial meniscus of my left knee several months ago. But so many other words and lines stood out to me the first time I listened to this song, such as “He’d have more elbow room in the next town over” and “Like overripe fruit in the stink of a boot” and “If you see some way that we can uproot him/Other than shoot him.” This one has an unusual vibe. And is that a kalimba? Yes, that’s Jim Hannah on kalimba. The CD then ends on a more serious note with “Wilson Comes Home,” the title track. I love that moment when the saxophone rises above the action, echoing down the street, followed quickly by guitar. Wonderful stuff.

CD Track List

1. Just These Things
2. Hammer In Her Hand
3. The Mark Of A Man
4. To Be Her Man
5. A Hundred Answers
6. Alexander Grothendieck
7. Soft As A Sponge
8. It Weighs Nothing Against Her Neck
9. Viscous Meniscus
10. Wilson Comes Home

Wilson Comes Home was released on August 15, 2017.

Gus Spenos: “It’s Lovin’ I Guarantee” (2018) CD Review

The country entered a dark, disturbing and ugly era when it allowed Donald Trump and his racist gang of incompetent assholes to begin occupying the White House. Things have become awful out there, and seem to be getting worse. But, man, you’d never know it listening to the new CD from Gus Spenos, It’s Lovin’ I Guarantee. This music shouts joyously, almost defiantly, that things are good. And it’s not long before I’m a believer. There is nothing like some swing to lift us from the mire, and this disc certainly does swing. Those horns will take us right out of the dank, incestuous hole of Trump’s administration. In fact, I believe they could lead us safely out of the apocalypse. Something in me is convinced that the right song could put an end to Donald Trump, Mike Pence and the rest of those fascist bastards, that it would cause them to implode. This CD may very well contain that song. I’m not sure which song, so play them all. Gus Spenos is a talented saxophone player and vocalist, and he has assembled a fantastic group of players for this album. It’s Lovin’ I Guarantee might be just exactly what we need today.

The album gets off to an excellent start with its title track, written by Gus Spenos and pianist Collin DeJoseph. “I’ll make you happy/It’s lovin’ I guarantee.” No question that he can make us happy. This track makes me happy almost from its opening notes. This song moves right along at a good clip, blowing joy our way, and pushing away everything else. Seriously, it’s like the music is able to clear away the muck and grime of the nation, creating space for dancing and happiness. That’s followed by “She Walked Right In,” a tune written by Thomas T.N.T. Tribble. “Well, I done found out you don’t love me no more/Well, I’m packing my drift bag, going right out your door.” Ah, when does finding out that a woman no longer loves you sound so damn good? I seriously dig that bass line, that this song also features some fun backing vocals, as well as more great work on horns.

One of my absolute favorites on this disc is “Fool’s Blues,” a song by Jimmy Rushing. It’s cool in the way that “Minnie The Moocher” is cool. Great vocal performance, delicious work on horns, and plenty of attitude. How can anyone help but love this? “Yes, I know I’m a fool/But what am I going to do?” That’s followed by another great number, “Every Tic’s Got A Toc,” an original tune by Gus Spenos and Collin DeJoseph. Oh, those horns! “Don’t run to your future/It’s going to get here anyhow/It won’t be long ‘til you reach it/Then it all becomes right now.” Things get gloriously bluesy with “Livin’ Is A Crime,” another original track written by Gus Spenos and Colin DeJoseph, and another of the CD’s highlights. The first lines are “Too much drinking, baby/And I don’t sleep like I should.” Well, that describes basically everyone I know since the election. The whole country has the blues. “Yes, it’s been a long time, people, since things made any sense at all/Oh, I get up in the morning, then I just wait for night to fall.” I love this! And that horn is powerful and sexy.

“Lil’ Dog” is a delicious and joyful instrumental track, originally done by Buddy Johnson And His Orchestra. That’s followed by a wonderful rendition of “I’m Gone,” originally recorded by Billy Brooks And His Orchestra in the 1950s. As much as I love the horns on this album, that section with guitar and organ is one of my favorite parts of this track. This excellent disc concludes with “Got Myself A Diamond,” an original tune featuring some delightful backing vocals and more great work from the horn section. “Whenever we’re together, it’s my bell that’s going to ring.”

CD Track List

1. It’s Lovin’ I Guarantee
2. She Walked Right In
3. Hush Baby Don’t You Cry
4. Fool’s Blues
5. Every Tic’s Got A Toc
6. The Blind Boy
7. Livin’ Is A Crime
8. Lil’ Dog
9. I’m Gone
10. Have Mercy Baby
11. Hey Girl
12. Kind Loving Daddy
13. Got Myself A Diamond 

It’s Lovin’ I Guarantee is scheduled to be released on March 1, 2018.

The Mica Bethea Big Band: “Suite Theory” (2018) CD Review

There were two reasons I first put on Suite Theory, the new album from The Mica Bethea Big Band, neither of which had anything to do with the music. The first is the color scheme of the album cover. Purple and green are my favorite colors, and so I was naturally drawn to this disc (though in photos it looks more like blue and green – weird). The second is the title of one of the tracks, “Meniscus.” I tore the medial meniscus of my left knee on July 13th. It’s a word I didn’t know before July, and a word that has been on my mind a great deal since then. So I felt a need to hear that track. Sure, these are perhaps not the best reasons to choose a CD to listen to, but I’m glad they helped make the choice, for Suite Theory is an excellent album.

It features four connected pieces, the first titled “Crystal Clear.” This track is a wonderful reminder that life is good. It seems to be saying just that, what with that work on horns, and with that easygoing, joyous rhythm. It’s a reminder we can use these days. And then suddenly the horns quiet down, and there is a cool lead on bass, which makes me smile. Actually, much of this track makes me smile. The horn solos that follow the bass solo have distinct personalities, and display a clear sense of humor. There is a great deal of joy in this music; this track is a delight. It is followed by “Destiny’s Boat,” which immediately feels different, having a darker tone, a sense of foreboding at the very start that gives way to a lighter sense, but still with a serious, introspective vibe, sometimes moving with caution, sometimes gathering its forces and courage to burst ahead.

“Meniscus” announces its lighthearted approach at the beginning, making interesting use of pauses. This track features some cool percussion, a bit of a jazz fusion feel and sudden Latin rhythms. This tune feels like an offbeat character from a forgotten 1970s romantic superhero exploitation film, a delightful character with several different sides, each coming to the surface at the opportune moment. It’s a lively and unusual track that includes a percussion solo that I love. This track leads straight into “Guardian Of Forever.” This too has something of a 1970s feel, with a bit of funk, at moments threatening to cross the line into disco. Yeah, it’s a fun track. At one point, it goes into an area akin to progressive rock. Star Trek fans will recognize the title as a key element of an episode of the original series, “The City On The Edge Of Forever.” It is a portal to other times and places, and The Mica Bethea Big Band pulls us through the portal to a delightful time. The album then concludes with an alternate take of “Destiny’s Boat.”

CD Track List

1. Crystal Clear
2. Destiny’s Boat
3. Meniscus
4. Guardian Of Forever
5. Destiny’s Boat (Alternate Take) 

Suite Theory is scheduled to be released on March 1, 2018.

Laurie Jane & The 45s: “Midnight Jubilee” (2017) CD Review

Laurie Jane & The 45s are a seriously good blues band based in Louisville, but are not strictly blues, mixing in elements of country and rock and other musical genres to create an engaging and entertaining and totally satisfying sound. The band is made up of Laurie Jane Duggins on vocals; Cort Duggins on guitar, piano and lap steel; Jason Embry on upright bass; and Scott Dugdale on percussion. The band’s newest release, Midnight Jubilee, features mostly original material written by Cort Duggins.

This is a disc that I love right from the start of its first track, “Wait So Long,” country blues with a great groove and some damn good playing. Check out that instrumental section halfway through. Holy moly, each time I listen to that part, it’s a different musician that impresses me most.  Oh yes, it feels like a party, with its loose, excited vibe. And then of course there is Laurie Jane’s vocal performance, which has a casual, honest feel that almost causes you to overlook how talented she is. Because it feels so natural, you know? This is one hell of a good song, one of my personal favorites. It’s followed by “Lucky Boy,” which has a different kind of hook, but is just as effective. It’s a bit slower, a bit more intimate. “Oh, baby, don’t act like you don’t know/That you got lucky, boy, back when I first met you.” Oh, I know, I know.

“Midnight Jubilee,” the CD’s title track is another of the disc’s highlights. The title reminds me of Jon Svetkey’s “Television,” in which he sings “You know I’d love a shopping spree/At K-Mart’s midnight jubilee” (sometimes the store name would change to Walgreens). That song was always a great, high-energy number at those End Construction shows. And this song by Laurie Jane & The 45s is perhaps the CD’s best track. Scott Dugdale starts it off with a good groove on drums, and the song builds from there into a deliciously cool number. Laurie Jane sings, “All night long, that’s all the time I’ll need/I’m going to make you love me/Baby, wait and see.” Oh, I have no doubt of that, and I think it will take even less time. I also love Laurie Jane’s vocal delivery on “Fine By Me,” a track which features some good work on piano (I especially love that piano lead section partway through).

Another of the CD’s highlights is “It’s Been A Long Time,” a very cool blues tune in which Laurie Jane sings, “I’ll miss you in the morning/But I’ll miss you more at night.” Oh yes! And her vocal performance here is sexy. This track features some good work on guitar. “It’s Been A Long Time” is one of the disc’s few covers, and was written by Howard Biggs and Joe Thomas. That’s followed by another bluesy gem, “Couldn’t Cry Alone,” combining country and blues, with a wonderful old-time vibe, particularly in the keyboard part. “It isn’t right, I know/Not to be at home/When I’m missing you/I’m sorry, I couldn’t cry alone/They say that misery/Loves her company/But all I love is you/That’s why I’m sorry/I couldn’t cry alone.” Midnight Jubilee ends with a fun number titled “Not With You,” one to get you on your feet. “You’re trying to bend me, trying to make me sway/Nothing you do is gonna make me break.”

CD Track List

1. Wait So Long
2. Lucky Boy
3. Midnight Jubilee
4. Howlin’ For My Darlin’
5. Fine By Me
6. Down This Road
7. It’s Been A Long Time
8. Couldn’t Cry Alone
9. Got Me Where You Want Me
10. What’s A Girl To Do
11. Not With You 

Midnight Jubilee was released on October 27, 2017 on Down In The Alley Records.

The Choir: “Artifact: The Unreleased Album” (2018) CD Review

I love 1960s rock music, particularly stuff from the second half of the decade, and am surprised and thrilled when I find out about some band from that time that I previously was unaware of. Such is the case with The Choir, a band based in the Cleveland area, performing from late 1964 to 1970 (though the first two years as The Mods). They did have a moderate hit with “It’s Cold Outside,” and released a few other singles, but that was about it. It wasn’t until several years after the group had disbanded that more of their recorded material was released. There were many personnel changes in the band’s relatively short history, with several band members going on to greater success with other bands, such as Raspberries and James Gang. So the band at the end of its run was quite different from that at the beginning. Artifact: The Unreleased Album presents the band as it sounded toward the end, featuring tracks from an early 1969 recording session. The band at this point was Phil Giallombardo on organ and vocals, Randy Klawon on guitar and vocals, Denny Carleton on bass and vocals, Jim Bonfanti on drums and vocals, and Kenny Margolis on piano and vocals. Though the album has remained unreleased until now, a few tracks did appear on compilations after the band broke up. This release includes liner notes by Al Kaston, with thoughts by band members Denny Carleton and Phil Giallombardo, as well as fan Eric Carmen.

Most of the songs here are originals, with three band members contributing tracks. The first song, “Anyway I Can,” was written by Phil Giallombardo, and is a good, fun, cheerful 1960s pop song. This track was previously released on The Choir, an EP from 1976.  It’s followed by “If These Are Men,” which to my ear is more interesting. It has a good groove, sure, but a slightly more serious tone and rocks a bit more. Plus, there is some good stuff on organ. Here is a taste of the lyrics: “Although they know I’m to blame/They say don’t give in/Just make her squirm and crawl/You’ve got to show her her sins/But if these are men, then count me out.” This song was written by Denny Carleton, and was previously included on 1994’s Choir Practice. It’s one of my personal favorites of this release. “Ladybug” is another of the disc’s highlights. It has more of a psychedelic flavor and goes in some interesting directions, and includes some good guitar work toward the end. This is not your standard pop or rock tune. “Didn’t know where to go/Or where to find myself/Sailed off to fairyland/Came upon an elf/And so we wandered off/To rid us of our curse/Came upon a ladybug/Knew what she was worth.” “Ladybug” was written by Phil Giallombardo.

One of my all-time favorite bands is The Kinks, and on this album The Choir chooses as its one cover a Kinks song, “David Watts,” which was originally included on Something Else. This is a catchy and playful number written by Ray Davies about a real guy. “He is the captain of the team/He is so gay and fancy free/And I wish all his money belonged to me/I wish I could be like David Watts.” The Choir does an excellent job with this tune, sticking closely to the original version. “David Watts” was also included on Choir Practice. That’s followed by another of the disc’s highlights, “Have I No Love To Offer,” a slower and oddly compelling song, compelling particularly in the vocal delivery. “Why can’t I live my life all alone and free/I always dream about the way it used to be.” And I really like the jam that concludes the song. “For Eric” is the album’s only instrumental tune, and is one that has really grown on me. It begins innocently enough, with a simple groove on bass, which is soon taken up on keys as well. And it builds from there, and there is something beautiful and uplifting about it at times. “For Eric” was written by Kenny Margolis. Margolis’ “It’s All Over,” which follows it, is also quite effective. Check out the opening lines: “It’s all over/But now I love you/I wasn’t happy/And now you’re gone.” The album ends with an absolutely delightful and catchy song, “Mummer Band,” written by Denny Carleton. As you might guess from its title, this tune is a whole lot of fun, and clearly the band feels the same way, as evidenced by the laughter and joking you can hear at the end of the track. “Even though I’m younger, I still love your mummer band/I love rock ‘n’ roll and rhythm and blues, but oh that mummer band.”

CD Track List

1. Anyway I Can
2. If These Are Men
3. Ladybug
4. I Can’t Stay In Your Life
5. David Watts
6. Have I No Love To Offer
7. For Eric
8. It’s All Over
9. Boris’ Lament
10. Mummer Band

Artifact: The Unreleased Album is scheduled to be released on February 16, 2018 through Omnivore Recordings.

Dolores Scozzesi: “Here Comes The Sun” (2018) CD Review

Jazz vocalist Dolores Scozzesi has a voice that seems at home in any musical realm. She can tackle standards, handle those great smoky late-night numbers, deliver intriguing renditions of pop tunes, dip into songs with Latin flavors, and do it all with soul and style. On her new release, Here Comes The Sun, she is backed by Quinn Johnson on piano, Andy Langham on piano and melodica, Lyman Medeiros on bass, Kevin Winard on drums and percussion, Larry Koonse on guitar, Dori Amarilio on guitar, and Nolan Shaheed on trumpet. Here Comes The Sun was produced by vocalist Mark Winkler.

Dolores Scozzesi kicks off the album with Cole Porter’s “It’s Alright With Me,” a wonderful rendition, delivered with a strange sense of urgency. Check out that work on bass, which drives the song forward at a wild pace. And the way Dolores delivers lines like “You can’t know how happy I am that we met/I’m strangely attracted to you/There’s someone I’m trying so hard to forget/Don’t you want to forget someone too?” make me think she’s trying to get this guy into bed quickly before she has second thoughts. And there is a fast flight along the keys, followed by some nice work on guitar. That’s followed by a very cool rendition of “I’m In The Mood For Love,” her voice supported just by a wonderful bass line at the beginning. Then there is a surprising and delightful lead on melodica. Oh yes, this track is getting me in the mood for love, and it will likely do the same for you.

I am a big fan of Randy Newman’s work. Well, his early work, before he sold his talents to that horrible company Disney (I despise Disney). On this CD, Dolores Scozzesi covers “You Can Leave Your Hat On,” a song from Newman’s phenomenal 1972 album Sail Away. I think the first version I heard was the Joe Cocker rendition from the film 9 1/2 Weeks (I was fourteen when I saw that movie, so it had an impact on me). This version from Dolores Scozzesi features another prominent, strong bass line at the beginning, setting up a delicious vibe. And of course, the fact that it’s a woman singing this one gives certain lines a different feel. Like the Etta James version, Dolores changes the word “dress” to “vest.” She then gives an unusual reading of the “Yes, yes, yes” line, particularly with that added first “Yes,” almost like an acknowledgment that he is doing as she instructed. It sounds almost like it just slipped out, an honest reaction, before she then returns to being in control. A nice moment.  This rendition also features some good work on keys, and then that horn. Wow, that trumpet is totally fucking delicious. This is a seriously excellent version.

Dolores Scozzesi follows that with “Wild Is The Wind.” Though this song has been covered many times, the first version I ever heard was the David Bowie version from Station To Station, and that’s still the version I compare all others to. I really like what Dolores does with this song, particularly in the second half, where she adds some vocal improvisation. She then gives “Here Comes The Sun” a different and prominent rhythm, which took me some time to get used to. The song has a very different feel than that of the original version by The Beatles. Dolores also delivers quite a different rendition of “Tequila.” You might think “Tequila” would be a strange choice of songs for a vocalist to cover. After all, the lyrics comprise a single word. But this rendition features new lyrics by Mark Winkler and Dori Amarilio. It’s a goofy and playful rendition, and I like it. “And when the band played/She would be dancing/And when the band stopped/You could hear Juanita say ‘tequila’/That’s what she’d say.” The album concludes with a gorgeous rendition of “Harlem Nocturne.” I love the way Dolores delivers this one, especially when she dips into her lower registers. There is an entire world and history in her voice. Plus, this track features some wonderful work on guitar and melodica.

CD Track List

1. It’s Alright With Me
2. I’m In The Mood For Love
3. You Can Leave Your Hat On
4. Wild Is The Wind
5. Here Comes The Sun
6. In My Solitude
7. Tequila
8. A Little Taste
9. Harlem Nocturne 

Here Comes The Sun is scheduled to be released on February 15, 2018 on Café Pacific Records.

Lyn Stanley: “The Moonlight Sessions Volume One” (2017) CD Review

Last year, talented jazz vocalist Lyn Stanley released two volumes titled The Moonlight Sessions, featuring her wonderful interpretations of familiar songs, including standards. I was first turned on to this artist a few years ago when she released Interludes. On that release, she mixed standards with some more surprising choices, such Led Zeppelin’s “Whole Lotta Love.” On The Moonlight Sessions Volume One Lyn Stanley continues to offer surprises, though most of the song choices fit comfortably under the banner of standards. It is her voice and her style and her approach to the material that continue to surprise and delight me. Her voice sounds to me like something that comes alive at night, that thrives in those hours of excitement and mystery and promise.

She opens the album with “All Or Nothing At All,” a song made famous by Frank Sinatra. One of the greatest pieces of music ever recorded is Gershwin’s “Rhapsody In Blue,” which is used so well in my favorite Woody Allen film, Manhattan. On this album, Lyn Stanley starts “All Or Nothing At All” with a taste of that tune, which is wonderful, and then the drums lead us into the song. Sometimes I want music to transport me away from the current state of things, more so now than in previous years. Who would have thought Donald Trump would last a full year? It’s depressing, and I look to music for escape. Lyn Stanley is able to open a door into a better time, a better world with this timeless and delightful music. And as on Interludes, she is backed by some incredible talent, and this track features some great work on horns and guitar. This track ends with a bit more of “Rhapsody In Blue.”

“All Or Nothing At All” is followed by “Willow Weep For Me,” which is sexy right from the start, with that horn, and with the way Lyn sings just the word “Willow.” Oh yes! I love her delivery. It’s enchanting and unusual and gorgeous. This track also features some delicious work on guitar. I can’t get enough of this one.  There have been a lot of good versions of this song over the years – by folks like Sarah Vaughan, Billie Holiday and Ella Fitzgerald – but this one is among the very best. You should definitely check it out. Lyn then delivers a gentle, romantic rendition of “Moonlight Serenade,” full of yearning and passion. I could be carried away on her voice to a place where love and romance reign – a land without school shootings; a land without lies; a land without heartless, two-dimensional, pointless characters like Donald Trump and Mike Pence and Betsy DeVos.

Then Lyn Stanley gives us an interesting take on “My Funny Valentine.” Something about it from the start makes me nervous; this track has an uneasy, haunted quality. Perhaps it’s that work on piano. As they get into the song, however, the tone changes, and I relax.  That piano solo halfway through the song is really something. This is a captivating rendition. Lynn takes an interesting approach to “Why Don’t You Do Right?” too, putting it in the same realm as Peggy Lee’s “Fever,” with the finger snaps and that cool vibe with the bass line.  It reminds me just a bit of the version that Jessica Rabbit sings in Who Framed Roger Rabbit. This rendition is better, and I really dig that bass solo. That’s followed by a playful rendition of “Girl Talk,” a song written for the 1965 film Harlow. More good work on bass is prominent in Lyn’s wonderful version of Willie Nelson’s “Crazy.” Another highlight of this CD is “How Insensitive,” featuring Tamir Hendelman on piano. The album concludes with “In The Wee Small Hours Of Morning,” a perfect song to end a night spent listening to Lyn Stanley. This version features some good work on harmonica by Hendrik Meurkens.

CD Track List

1. All Or Nothing At All
2. Willow Weep For Me
3. Moonlight Serenade
4. My Funny Valentine
5. Embraceable You
6. Why Don’t You Do Right?
7. Girl Talk
8. Crazy
9. Close Your Eyes
10. How Insensitive
11. Break It To Me Gently
12. In The Wee Small Hours

The Moonlight Sessions Volume One was released on May 30, 2017.