Ben Reddell Band: “¡LA Baby!” (2021) CD Review

It has been the better part of a decade since Ben Reddell put out his last CD, an EP titled The Big Dang Deal, but that doesn’t mean the Texas-born, Los Angeles-based musician hasn’t been busy. He has been playing bass with several bands, managing Bedrock LA, and promoting and hosting the Grand Ole Echo, a weekly show in the Echo Park section of L.A., in addition to working with his own band. And now Ben Reddell has a new EP out. The Ben Reddell Band began recording ¡LA Baby! in December of 2019, but soon the pandemic caused a change in plans, and the rest of the disc had to be finished remotely. The disc features all original material, written by Ben Reddell, and the band is made up of Travis Popichak on drums, Elijah Ocean on bass, Joe Bourdet on guitar, Jon Neimann on keys, Matt Pynn on pedal steel, and Jeremy Long on accordion.

The EP opens with “My Baby,” and the first thing that strikes me about this song is the tremendous amount of cheer to its sound. This is a song for summer, a song to be playing while you’re cruising the boulevards near the ocean or a lake, or wherever it is you take pleasure in being during these hot months. “And I think about the future/And I know everything is going to be all right.” Yes, there are those moments, and we need more of them, when you are certain of a positive outcome. And yes, these days it seems those moments are tied exclusively to that one special someone in your life, for the rest of the world is just nuts. This love song has a delightfully bright vibe, and features some nice work on keys. Then “Cocaine” comes on as a heavier, thumping song, but is just as much fun. In fact, at first it seems like strictly a party song, with that opening line “Ease my brain with a little cocaine/Ease my mind with wine,” but suddenly certain lines about the racists who were living in the White House grab my attention. And then Ben Reddell sings, “While the world is in shambles/Going to drink, I’m going to ramble/I’m going to piss this whole life away.” And I seriously dig that rock and roll keyboard part. Things then relax a bit with “Tumbleweed,” an easygoing country song featuring some good work on pedal steel and a wonderful, heartfelt vocal performance. It’s about being out on the road. “Yeah, you can roll with me tonight/While stars are burning bright.” This track features some excellent guitar work toward the end.

“If You Love Her And You Need Her” is a totally fun number with something of a Cajun vibe with that work on accordion. And how can you not love a country song that makes a reference to a Madonna song? But to balance things out, it also mentions a pickup truck. So there. And this song has a cha cha cha ending. (By the way, on the CD case, this song is listed as “Love Her & You Need Her.”) That’s followed by “12 Bar Blues,” which features more nice work on pedal steel and has sweet vibes aplenty. “Hold you closely upon the floor/Until the two of us can dance no more.” And this is exactly the sort of perfect declaration of love for our times: “And even when the world just feels so insane/I still love you, babe.” The EP concludes with another cheerful number, “Good Thing,” featuring lively work on accordion and a good rhythm. There is even a section with just vocals and drums in the second half. This one also has a cha cha cha ending, a great way to wrap up the EP.

CD Track List

1. My Baby
2. Cocaine
3. Tumbleweed
4. If You Love Her And You Need Her
5. 12 Bar Blues
6. Good Thing

¡LA Baby! was released on July 9, 2021.

Rebecca Angel: “Love Life Choices” (2021) CD Review

I started listening to Rebecca Angel back in 2015, so it comes as something of a surprise to learn that Love Life Choices, her new release, is actually her debut full-length album. Everything before this has been singles and EPs. Music on this album is a mix of original material and covers, and the covers encompass a fairly wide range of musical territory, from jazz to reggae. Rebecca Angel’s father, Dennis Angel, joins her on flugelhorn and trumpet, though surprisingly plays on only a few tracks. Also joining Rebecca Angel on this release are Jason Miles on keyboards, Romero Lubambo on guitar, Dean Brown on guitar, Reggie Washington on bass, Gene Lake on drums, and Brian Dunne on drums, along with several guests on various tracks.

The album opens with a cover of Buffalo Springfield’s “For What It’s Worth,” which Rebecca Angel released as a single last October. It is a song that was particularly timely during the last administration when peaceful protesters were attacked by the police, in some cases under the direction of the president himself. And, as we are learning now, that racist conman had told the police and military to shoot and kill civil rights protesters. Insane. “Everybody look, what’s going down.” Rebecca Angel offers a really good rendition here, with a funky element, and the band gets a chance to jam on this a bit in the second half. I particularly like Dean Brown’s work on guitar, and those great touches by Dennis Angel, who plays trumpet on this track. Maya Azucena joins Rebecca Angel on backing vocals, and Bashiri Johnson is on percussion. That’s followed by “Till Now (Gymnopédie No. 1),” which is an original composition. Well, sort of. The music is by pianist Erik Satie, but the lyrics are by Rebecca Angel. This is a sweet-sounding song, the lyrics delivered in a smooth fashion. “I know you’re not here/I am alone.” On this track, Rebecca Angel provides her own backing vocals. Mark Rivera joins her on congas.

“Side By Side” has an electronic pop vibe, and is an original song, co-written by Jason Miles, who plays keyboards and synthesizer bass, and does the drum programming. And yet, with all the electronic sounds, Rebecca Angel’s vocals still manage to have an intimate sound. “When you’re with me/I see the sun/Side by side/’Til the day is done.” The rhythm is catchy, and I love Dennis Angel’s work on flugelhorn. That is followed by a cover of Bill Withers’ “Just The Two Of Us,” which Rebecca Angel released as a single in April. She does a fantastic job with this song, totally inhabiting it and turning in one of her best vocal performances, soulful and passionate, even dipping into a bit of scat in the middle. This track also features some nice work by Gene Lake on drums, and it is the percussion that starts this track. Ada Rovatti joins her on tenor saxophone, Ira Siegel is on guitar, and Maya Azucena adds some wonderful backing vocals. Rebecca Angel then ventures into reggae with a cover of Bob Marley’s “Waiting In Vain.” Her vocals have a sweet, soothing quality. On this track she gets some help from Nir Felder on guitar. Mark Rivera is on congas, and Jimmy Bralower is on percussion.

Rebecca Angel covers two compositions by Antonio Carlos Jobim. The first, “Corcovado,” begins in a beautiful, dreamlike world, a place where Rebecca Angel seems completely at home. “This is where I want to be/Here with you so close to me,” she sings. Dennis Angel adds more nice work on flugelhorn, and this track features a wonderful lead by Romero Lubambo on guitar. Cyro Baptista is on percussion. And at the end, as she returns to the song’s first line, “Quiet nights, quiet stars,” everything is so smooth and so sexy. She follows that with the second Jobim composition, “Waters Of March.” Here she steps out of that dream back to Earth, and delivers the lyrics at a good clip. Pamela Driggs joins her on vocals. This track also features Jay Rodriguez on flute, and contains that rather playful ending. That’s followed by a cover of Sade’s “Maureen.” I was never a big fan of Sade, but this song will speak to those folks who have lost someone during the pandemic, and I do really like Hailey Niswanger’s work on alto saxophone here. Christian Ver Halen is on guitar, and Richie Morales is on percussion on this track.

We then return to original material with “Thoughts And Prayers,” a song that was released as a single in 2019. This song addresses the gun violence problem, which is absolutely staggering in this country, and seems to be getting worse. Here Rebecca Angel mentions the emptiness of thoughts and prayers, and how wishful thinking won’t solve anything. There are a lot of compelling lyrics, such as these lines: “Waking up, it’s all I see/The fear and hate consuming me” and “And we keep grieving and keep on lying/Seems it’s normal to be dying/What’s the point to keep on trying.” This is my personal favorite track on this album. And to all the Second Amendment enthusiasts out there, let me wish you a headlong run into a brick wall. The album concludes with another original song, “Summer Song (Electro Remix).” A different version of this song was released as a single in 2019. This is a sweet and pretty song, and of course perfect for summer, like a cold glass of lemonade during a heat wave. And I love Gottfried Stoger’s lead on soprano saxophone in the second half.

CD Track List

1. For What It’s Worth
2. Till Now (Gymnopédie No. 1)
3. Side By Side
4. Just The Two Of Us
5. Waiting In Vain
6. Corcovado
7. Waters Of March
8. Maureen
9. Thoughts And Prayers
10. Summer Song (Electro Remix)
    

Love Life Choices was released on June 11, 2021 on Timeless Grooves Records.

Town Meeting: “Make Things Better” (2020) Vinyl Review

Town Meeting is a group based in Boston, with a wonderful folk rock sound and a talent for writing interesting and engaging lyrics. Last year, they released an excellent album of all original material titled Make Things Better. This release found some changes within the group, with the addition of a new member, bassist Derek Fimbel, and with percussionist Russell Condon moving to a full drum kit. The band is made up of Luke Condon, Russell Condon, Brendan Condon, Tim Cackett and Derek Fimbel. This album is their third LP, following From The Green. By the way, this record was put out on glorious clear yellow vinyl.

Side A

The record opens with “Bleeding Hearts,” and right away the group’s vocal skills are apparent, this track beginning with their voices over a steady beat. “If hummingbirds can hum along/Then I can make it through.” When it kicks in, it has a wonderfully positive folk rock sound, and some lyrics that are just exactly right for this time when the country begins to emerge from the pandemic and we move into summer: “Take me out, take me outside/Take me out, take me out now.” And check out that joyful harmonica work. “And it’s not forever/Nothing is, and that’s okay/This mystery is all I need/And it’s not that far away.” The delicious positive vibes continue with “Answers.” I love that harmonica at the beginning. At first, the lyrics show someone who is standing on his own, and we start identifying with him: “You won’t decide my fate/You don’t belong here/You don’t get to call my name/You don’t know me.” Then, after a moment, there is a change: “But if you’ve got answers, then I’ve got a reason to wait.” Ah, we’re all looking for answers, aren’t we? It is likely no one has them, but the search is still worthwhile somehow. This song had me on my feet before the end. Yes, my apartment becomes my private dance club at times, what of it? There is a false ending, and the song comes back in with even more power, more joy, as they repeat “Stay.”

There is something playful about “A Goddamn Song.” The opening line at first seems to question the existence of a god, “Is there a god,” but then continues into next line, “Damn reason why I keep on keeping on.” I love that kind of thing, how it plays with expectations and so keeps us on our toes, drawing us in to pay closer attention. “Show me a sign/I said, so she stuck her middle finger out/You go take that precious time/And you can figure the whole thing out.” And yes, this track features more good work on harmonica. Something about this song causes me to smile like there is nothing wrong in the world. And check out these lines: “If you build it up/They’ll break you down/It’s just the consequence of living here/With both feet on the ground.” As at the beginning, there is a pause in the middle of the word “goddamn” in the line “I need a goddamn song,” for a moment catching us. And then when I think things can’t possibly get better, there is a cool jam at the end, featuring some great work on drums, guitar and harmonica. That’s followed by “The Fourth Verse,” which has a more relaxed, gentle vibe at the beginning. This song gives us the album’s title in the line “We just need a little time to make things better,” and at that very moment, the song takes on a bit more power, as if they are beginning their attempt to improve things right then. I love the line “And why is it always a monologue when you just want The Beatles.” We’ve all experienced that, right? Turning on the radio, and needing a good song, and instead finding ourselves being spoken at. I’m always in need of that good song, and so I usually turn to records like this one rather than risk the radio. These guys write so many good lines, like these: “And once in a while you’re an open book, but the rest of these hours/Are spent trying not to be the person you probably already are.”

The first side of the record concludes with “Sometimes The Moon,” which begins gently with acoustic guitar. The vocals have more of an intimate sound at the start. Check out these lines: “I started to laugh at myself as I’m sometimes prone to do/If I’ve gotten decent sleep, or I’m eating decent food.” And then the song’s title line made me laugh out loud the first time I heard it, “Sometimes the moon just fucks me up.” But the song holds more surprises, as it immediately turns more serious, and our emotions are pulled in a different direction. Life is like that, and this song has that kind of truth to it. You know? “I can’t fight myself right now, I would rather try to sleep/The night was loud and wouldn’t quit/Like nothing good could ever fit.”

Side B

The second side begins with “Pretend (It Isn’t Strange),” which fades in like a bright light approaching us and soon enveloping us. And then this short instrumental track is over. Of course, now I’m wondering about the parenthetical part of the title, and whether it means that we should pretend things aren’t strange, or if it means that it’s not strange to pretend. That’s followed by “Forget Me Nots.” “I saw the devil and he passed me by” is such a good line, one that gets me to imagining the situation, and wondering as to the reason. This track features some really nice harmonies. It’s not long before it kicks in with a great bluesy force, and I love when that harmonica begins to really wail. The song becomes something of a wild jam in the middle there. And that last section with the repeated “You’d better pray for rain” is fantastic and powerful, and will speak to certain sections of the country right now during these crazy heat waves. The harmonica has a much sweeter tone as “Fuck The Man” begins, which itself is something of a surprise too, considering the song’s title. This is not an angry-sounding song, even if there is some frustration expressed in lines like “Just trying to make it through/But can’t seem to ever catch a break.” But really this song celebrates friendship and humanity and those who help each other get through those tougher spots.

“Eulogy” has more of a country sound, particularly in that rhythm. Here is a taste of the lyrics: “I think I owe you an apology/But maybe you would settle for my eulogy/‘Cause we’ve all grown up and found us wives and hurt/And we only gather now/When one of us returns to/The dirt.” Those lines really hit me, the truth of them, especially as time rockets along, and I look around and realize I haven’t spoken to old friends in a long time. This entire album is excellent, but this song stands out for me, in part because of that emotional punch it delivers. There is something beautiful about “Silence Speak,” which closes out the album. “You told me a story with your legs/And I wrote it down in my soul/Never a word was spoke/Ours is a tale of hope.” This song also seems to provide an answer to the question I had regarding “Pretend (It Isn’t Strange).” This track builds in force as it goes, and then suddenly opens up into a sweeter plateau near the end, and the final line is delivered a cappella: “Can we let the silence speak.”

Vinyl Track List

Side A

1. Bleeding Hearts
2. Answers
3. A Goddamn Song
4. The Fourth Verse
5. Sometimes The Moon
   

Side B

1. Pretend (It Isn’t Strange)
2. Forget Me Nots
3. Fuck The Man
4. Eulogy
5. Silence Speak
   

Make Things Better was released on June 19. 2020.

Mike Zito: “Resurrection” (2021) CD Review

In 2019, blues guitarist Mike Zito released a tribute to rock and roll guitarist Chuck Berry, with several guest guitarists joining him. Then last year, when everything was shut down due to the pandemic, he returned to some original blues, giving us Quarantine Blues. On that release’s title track, he sings, “I’ve been stuck inside my mind/Stuck inside this hole.” We’ve all been in touch with that feeling, right? Now that people are getting vaccinated and the world is opening up, Mike Zito has a new album ready to help us celebrate. It’s titled Resurrection, which feels just about right for us in this time, doesn’t it? After a year of isolation and death, after a year when democracy was attacked by our country’s own people (and continues to be), we are looking for a rebirth of sorts. There is the sense that we will come back stronger and more united for having gone through this crazy time. Or, at least there is that hope. We can all use a fresh start, another chance, and that is expressed in that word resurrection. This album features mostly original material, written by Mike Zito. Joining him on this album are Zach Zito on acoustic guitar, Matthew Johnson on drums and percussion, Doug Byrkit on bass, Lewis Stephens on keys, Eric Demmer on saxophone, Fernando Castillo on trumpet, and Lisa Leuschner Andersen on backing vocals.

Though the album contains mostly original material, it opens with one of only a few covers, “I’ll Make Love To You Anytime” (here titled “I’ll Make Love To You”), which was written by J.J. Cale and included on his 1979 LP, 5. This version has a heavier sound than the original, and features some good work on electric guitar, and some great stuff on saxophone at the end. That’s followed by “Don’t Bring Me Down.” “You’re living on lies,” Mike Zito sings near the beginning of this one. He could be singing about an entire segment of our population, couldn’t he? A little later in the song he sings, “You’re looking for a victim/Yeah, someone you can hurt/But not today/I won’t take the bait/I’ve got no time/For those who hate.” Oh yes, now he’s singing for the rest of us. It’s difficult, especially on social media, but it is best to refrain from taking the bait. Don’t give those bastards the time of day. “I don't play that game/Politics and religion/It's all the same/I just want to live/I want to live my life.” This track features a delicious lead on guitar. Then “Dreaming Of You” is a love song about a man who is often on the road. “I’m dreaming/I’m dreaming of you/That’s all I do.”

“In My Blood” has a cool, delicious vibe right from its start. “I can’t sit still/No matter how I try/Everywhere I go/It don’t last long/I turn around/And then I’m gone.” Lisa Leuschner Andersen adds a beautiful layer with her harmony vocals on this track. This is one of my personal favorites. “Bought my dinner/Brought me wine/Shared her soul/But I didn't share mine.” That’s followed by “Presence Of The Lord,” the second of the album’s covers, this one was written by Eric Clapton and originally recorded by Blind Faith, and included on that group’s only studio album. Mike Zito delivers a powerful, passionate rendition, this track containing one of the album’s best vocal performances. Then “When It Rains” has a steady pounding beat, over which the other instruments seem to climb and fall at the beginning. And when I hear a line like “Told so many lies,” I still can’t help but think of the previous resident of the White House. When will we be able to drive him from memory? Check out these lines: “They say once you hit bottom/Only place to go is up/But they never met this woman/She broke my loving cup.”

“You Don’t Have Me” is a good solid rock tune, full of attitude and rhythm. “You’ve got everything that a girl could want/Oh baby, but you don’t have me/No, you don’t have me.” Later, as the song is winding down, he changes his mind, singing, “You got me right where you want me, girl/You got me making your bed/You got me baking your bread.” That’s followed by “Damned If I Do,” a slower gem, featuring the horns and some really good, expressive work on electric guitar. “I should walk away, babe/But you know I won’t.” Then “Running Man” is a fun track, written by Mike Zito and Guy Hale, who co-founded the label Gulf Coast Records. It features the horns, and includes some great stuff on keys. And soon we learn just what sort of running this character is doing, when we hear the line “Every four years, roll out the show.” Check out these lyrics: “Great big smile, innocent of guile/Same old speech, mile after mile/I kiss your babies, I pet your dog/All assurances are lost in the fog/You keep on falling for the same old lies/Send me to govern, yeah, watch the demise/It’s the same old story, year after year/Politics of hope, shaped by fear.” The album’s final cover is “Evil,” written by Willie Dixon. The band jams on this one, and I especially like the work on keys. The album then concludes with its title track, “Resurrection,” a soulful number. “Well, we need a resurrection/Yes, we need a second chance.”

CD Track List

1. I’ll Make Love To You
2. Don’t Bring Me Down
3. Dreaming Of You
4. In My Blood
5. Presence Of The Lord
6. When It Rains
7. You Don’t Have Me
8. Damned If I Do
9. Running Man
10. Evil
11. Resurrection

Resurrection is scheduled to be released on July 16, 2021 on Gulf Coast Records.

Diana Jones: “Song To A Refugee” (2021) CD Review

A decade ago, Diana Jones released High Atmosphere, which quickly became one of my favorite albums, not just of that year but of any year. Since then, she released Museum Of Appalachia Recordings and a live album, and now has a new studio album out. Titled Song To A Refugee, it features all original material, some excellent songs that speak to our troubled times. Several of these songs are about the crisis at our border, where families have been separated and children placed in cages. Diana Jones is the perfect artist to share these stories, for there is so much passion in her voice, so much love and understanding. For these are really songs about the human spirit. Joining her on nearly all of this album’s tracks is David Mansfield, who plays guitar, mandolin, violin, dulcimer, and mandocello. Jason Sypher plays bass on many of the tracks. Diana Jones also gets some help from special guests, including Richard Thompson.

The album opens with “El Chaparral,” a beautiful and touching song about that crossing point between Tijuana and San Diego, and about the horrors that the people passing there are trying to escape, and the suffering they endure to get there. This track features some really nice work by Will Houlshouser on accordion. The song’s last line is “Only steps away from America,” and the song ends there with the word “America” remaining in our heads, and whatever that word might mean to us at this point. That’s followed by “I Wait For You.” a song about a girl who is sold to a husband and eventually flees to a new country, seeking asylum. “There were no words to say/No place where we were safe/No proof that I was born to my land.” Richard Thompson joins Diana Jones on guitar and backing vocals on this one. “Song To A Refugee,” the album’s title track, is a pretty and moving song. While everything was shut down because of the pandemic, Diana Jones shared some of the new material in an online show presented by Club Passim, and this is one of the songs she performed. Here is a taste of the lyrics: “None of us know where our footsteps will fall/And what will become of the place that we love/The place that we think of as home.” David Mansfield provides some beautiful work on both violin and mandolin.

Diana Jones begins “We Believe You” on vocals, and soon other familiar voices join her. Steve Earle, Richard Thompson, Peggy Seeger and Zara Phillips all sing on this powerful and gentle track. During the awful and painful and infuriating time of the previous administration, an air of distrust was deliberately fostered. Anyone who was from another country was suspect, assumed a criminal, and those who came into our country seeking asylum were instead put into cages. And so to say simply “We believe you” becomes incredibly powerful and heartening. “We believe you came here for asylum/We believe you want to live in peace/We believe you did what we all would do/There’s no difference between you and me.” This is another song that Diana Jones performed during that online Club Passim show. By the way, Diana Jones released a video for this song, which is certainly worth checking out. That’s followed by “Mama Hold Your Baby,” which deals with the separating of families at our border, and the placing of children in cages. When will certain officials be held accountable for these atrocious actions? I am relieved that the racist conman is no longer in the White House, but until he is in prison, democracy remains in danger. “All the way to America/Your baby in your arms/Border guard detain you/You have done nothing wrong.” And then she repeats that last line for emphasis.

“Santiago” also deals with those who seek a better and safer life in this country, and was partly inspired by a photo that Diana Jones saw of a man holding a young child at the border. “I have never been a father/But I would like to be/To this boy named Santiago/Do not take him, please/I promised his mother/Do not take him from me.” This song makes excellent use of dramatic pauses, as in that line “Do not take him from me,” where she pauses before “from me.” Then the Chapin Sisters join Diana Jones on vocals for “Ask A Woman,” a more cheerful-sounding song. It addresses our troubled times, but with a positive and optimistic sense. “Why we get up in the morning these days/If you worry where the light has gone/If it’s worth your way home in the dark/Ask a woman with a child in her arms.” In addition to the vocal work, I really love that violin. The opening line of “The Life I Left Behind” is “If I could tell the story of the life I left behind,” and then she endeavors to do just that. There are many powerful lines, and the lyrics that especially stand out for me are these: “I saw the light change slowly/Behind my mother’s smile/Then the war came quickly/And the bombs rained from the sky/In the end, there was nothing/Nothing left at all/Dust and empty ruins/Everyone was gone.” This track also features more beautiful work on violin.

“Where We Are” is told from a child’s perspective, after being separated from her parents and caged. “They say the chain-linked cages are really walls inside of walls/There are children and more children, and the walls go on and on/This is where we are.” That last line works both to describe the actual situation of the child and the feelings of all of us in this country. This is where the country is now. It has been an unsettling thought. And again, though I am relieved that we have an actual president again, a lot is left to be fixed. “Where We Are” is followed by “Humble,” a gentle and pretty song. Check out these lines: “At sundown you had everything/Woke up to nothing/It all slipped away/When you weren’t looking/Now you wish you could sleep/One more night in that peace/With the one that you love/Breathing beside you.” And, yes, David Mansfield delivers more good work on violin on this track. And on the one that follows, “Love Song To A Bird.” I love that beautifully sad violin. “Heaven seems to catch her wings/And my heart breaks for a song/Love song to a bird that flew/And she never knew, and she never knew.”

“The Sea Is My Mother” takes place in a boat, and is a song of hope and fear. “She calms the waves so I can sleep/Dream of peace and something more/Waiting on a distant shore/My sister dressed me as a man/She gave me all the money she had/She kissed my cheek, she pressed my hands/Be quite as a grave, quiet as you can.” But the vessel is doomed. So too is the dream? The album concludes fittingly with a song titled “The Last Words.” Glenn Patscha joins Diana Jones on piano on this track. It is a song of one who is dying. “You whispered to your mother/Mother, I will be with you soon/Your arms reached out for your brother/As the quiet filled the room.” The approach is so gentle, and the song so beautiful, and ultimately soothing, with its final line, “I am not afraid to go.”

CD Track List

1. El Chaparral
2. I Wait For You
3. Song To A Refugee
4. We Believe You
5. Mama Hold Your Baby
6. Santiago
7. Ask A Woman
8. The Life I Left Behind
9. Where We Are
10. Humble
11. Love Song To A Bird
12. The Sea Is My Mother
13. The Last Words

Song To A Refugee was released on June 11, 2021 on Goldmine Records.

“We Believe You” music video.

CODE Quartet: “Genealogy” (2021) CD Review

CODE Quartet is a group based in Montreal, made up of Adrian Vedady on bass, Christine Jensen on saxophone, Lex French on trumpet, and Jim Doxas on drums. They formed in 2017, and in the years since have been creating and crafting original material. Now they’ve released their debut album, Genealogy, which contains mostly original material, with three of the four musicians contributing compositions. The fourth, Jim Doxas, mixed the album. The group is clearly influenced by Ornette Coleman, particularly his early work, even in the very makeup of the band, but they’re not imitating him or his quartet. These guys have their own thing happening.

When a track begins on bass, it’s a safe bet that it’s going to be a cool tune, and such is the case with the album’s lead track, “Tipsy,” which was composed by Lex French. And indeed, that is a fitting title, for this tune has a late-night sense about it, and prowls about as if it’s had at least a few drinks. Both the trumpet and saxophone seem to be out on the streets, strutting and feeling good, like they have intentions and desires but not cares or concerns. Both French and Jensen deliver some excellent work here, creating a rather vivid atmosphere and picture, and I want to just immerse myself in this world, particularly when Christine Jensen is leading. And, yes, this is a seriously cool tune. That’s followed by “Watching It All Slip Away,” which was written by Adrian Vedady. What a wonderfully depressing song title, right? And as you might guess, this one is a slower, more introspective number, the horns having a lonesome and pensive vibe at times. But there is a freedom here, and things do get a bit wild at moments too.  I especially love French’s work on trumpet.

Genealogy is a fascinating subject, and, like many people, I am curious about my ancestors, though not foolish enough to send a company a sample of my DNA in order to get that information. Anyway, the album’s title track, “Genealogy,” is a lively number that includes a short drum solo within its first several seconds, and only gets more exciting from there, swinging and moving and breathing and popping. I am especially crazy about the work by Jim Doxas on drums. Lex French composed this one. That’s followed by “O Sacred Head, Now Wounded,” the one track that was not written by any of the group’s members. It is an old hymn, and something of an odd choice. As it begins, an interesting atmosphere is created on bass and drums. Something mysterious. And when the horns enter, there is a funereal quality, at least at first, like a slow, sad march through New Orleans. Then it becomes a bit lighter, more fanciful in some of the work on saxophone. Things then pick up with “Wind Up,” a piece written by Christine Jensen. This one has a strong, forceful rhythm. Yes, it features more great stuff on drums. And then the saxophone and trumpet soar at moments over that delicious and robust rhythm. You just want to sink your teeth into this one, and become part of its movement. It is a spirited track, with some excellent playing.

The quartet slows things down again then with “Requiem,” which has a more somber, contemplative mood, though keeps from becoming too dark. It was composed by Adrian Vedady, and that lead on bass is what gets me interested. Then the trumpet is particularly expressive. There are some really gentle moments too. That’s followed by “Day Moon,” which comes on strong, the horns working together almost like an alarm, an announcement of sorts. Then interestingly, the track pulls back a bit and starts to build, and the next time the horns play that part from the beginning, the bass and drums work with them, giving it a different feel, a more grounded sense. The work on drums here is what makes this track something special. There is even a drum solo toward the end. Then Jim Doxas begins “Beach Community” on drums, establishing a catchy island rhythm, one that might get you on your feet. The trumpet and saxophone have a cheerful, friendly feel. This is a track that seems to tell us that life is good, and we can certainly use as many of those as we can get our hands on.

CD Track List

1. Tipsy
2. Watching It All Slip Away
3. Genealogy
4. O Sacred Head, Now Wounded
5. Wind Up
6. Requiem
7. Day Moon
8. Beach Community
   

Genealogy was released on April 23, 2021.

Thomas Comerford: “Introverts” (2021) Vinyl Review

Thomas Comerford is a singer and songwriter based in Chicago. Early in the pandemic, he put out a single titled “Our Valley,” with all of the musicians recording their respective parts in their own homes. Now as we ease our way out of the pandemic restrictions, he has a new full-length record out. Titled Introverts, it features all original material, written or co-written by Thomas Comerford. Joining him on this album are Johnny Caluya on electric guitar and synthesizer, John Lennox on electric guitar, Gregg Ostrom on electric guitar, John Roeser on electric guitar, Robbie Hamilton on synthesizer and percussion, Matthew Cummings on bass, Kriss Bataille on drums, and Tom McGettrick on pedal steel guitar. Matt Focht, Ariel Bolles, Crystal Hartford, Beth Yates, Azita Youssefi, and Amalea Tshilds provide vocals. Introverts is Thomas Comerford’s fourth album, following 2018’s Blood Moon.

Side A

The album opens with “Not Like Anybody Else.” When it kicks in, it has a wonderful summer feel, a bright pop vibe like “Stuck In The Middle With You.” The vocals then have more of a serious tone, along the lines of someone like Lou Reed. And that combination is excellent, making for compelling listening. On top of that, this song features some unusual lyrics, such as these lines: “Vaguely, in my underwater cloud/And I am immediately available/To be overcome is to live long.” And somehow it doesn’t feel like boasting when he sings, “‘Cause I am at the top of my game, and I’m not looking down/Yes, I am all alone up here, not like anybody else.” Perhaps that’s because there is a certain humor to this song. Mike Marsden joins Thomas Comerford on electric guitar on this track. That’s followed by “Cowboy Mouth,” which has a more relaxed vibe at the start, with an easygoing rhythm and an introspective feel. “I was old when I left my home/Never did say goodbye to my mom/She writes me letters to talk of religion/Tells me that it’s not my decision/The lord will wash away my sins.” It is interesting that, with that mellow, relaxed sound, this ends up being something of an empowering song, a song in which the narrator is determined to remain himself, vowing “I will never break for any/Any thing.”

The guitar work on “Three Sisters” has a 1960s folk-rock thing that is always appealing and sounds like summer to me. The lyrics tell a somewhat troubled tale of family, and of leaving home. This just came up in conversation the other day, with my girlfriend saying how the younger generation now will leave without hesitation and not look back. In this song, Thomas Comerford sings, “They flew away without a second thought/But you and your sisters/Flew into the arms of the ones/You knew their love would keep you from harm.” Ariel Bolles, Crystal Hartford and Beth Yates provide some nice backing vocals here. The first side concludes with “Onion City,” one of the album’s most interesting tracks lyrically, and also musically, with several cool touches, such as those on percussion. “The whiskey stays inside me for days/And the arms grow numb/I want to stare for a living/I’m in a moment, ‘bout to always be/And if you’ve no regard for me/Ain’t nobody gonna say that you’re wrong/But you’re wrong/If you let the people running this city/Drag you to the ground.” And there is a pretty instrumental section at the end.

Side B

The second side opens with “Partners” a very cool and unusual tune, with hints of darkness within. A phrase at the beginning of this track stands out for me every time I listen to this album: “sassy monarch.” Something about that hits me just right. This song is delivered as a duet with Azita Youssefi (whom you might know from The Scissor Girls), and her presence adds another fantastic layer. There is also some wonderful work by Tom McGettrick on pedal steel. But what is at the center of this one is Matthew Cummings’ great bass line. “We’ll track them down if they run/We’ll finish off what’s begun.” That’s followed by “Spacetime So Small,” which surprisingly begins with chimes. The vocals here are smooth, and the track has an interesting sound. This song seems to have a folk vibe at its core, but then those electronic sounds take things in a different direction. The overall effect is compelling, almost ethereal, and there are some psychedelic elements toward the end. “When everything was possible/Or seemed so strong/Before the probable got ahead of me/And kept us back/For too long.” This song was co-written by Edward E. Crouse, who also plays synthesizer. John Gargiulo is on electric guitar, and Curtis Ruptash plays fretless bass on this track.

“The Method” has an odd introduction, a hesitant beginning, as if at least one of the musicians is learning the song (and there is a surprising reference to George Michael). There is some humor in this one too. Check out these lines: “Talk of a talking cure/But Freud is a bore/I’m behind a counter/Blowing up a computer.” This track also features some pretty backing vocal work by Amalea Tshilds, who tells us, “You will be happy to hear/I worked it out with me.” The album concludes with one of its strongest, most exciting songs, “Bet Wrong.” I love the way the backing vocals interact with Thomas Comerford’s lead vocal performance, like angels commenting on the spiritual content of the song. Here is a taste of the lyrics: “But now you say that you’ve got nothing left to say/Sky gods left you behind with nothing in their place/What will you turn to now when you’re searching for your/State of grace?” There is also some nice work on pedal steel, adding to this track’s strange and undeniable beauty. The band jams on this one a bit, and then the track ends with an electric pulse, which soon fades into the distance.

Vinyl Track List

Side A

1. Not Like Anybody Else
2. Cowboy Mouth
3. Three Sisters
4. Onion City

Side B

1. Partners
2. Spacetime So Small
3. The Method
4. Bet Wrong

Introverts was released on June 18, 2021.