Helene Cronin: “Landmarks” (2023) CD Review

Singer and songwriter Helene Cronin released her debut full-length album in 2019, Old Ghosts & Lost Causes (it followed a couple of EPs). That album contained all original material. She is now following that with another album of original material, Landmarks. The songs on this new release address some serious subjects, and several include religious imagery. Helene Cronin’s delivery is honest and sincere, and that is certainly part of her great appeal. Joining her on this album are Matt King on guitar, keyboards and backing vocals (Matt King also produced the album); Bobby Terry on acoustic guitar, banjo, steel guitar and mandolin; Byron House on electric bass and upright bass; Kenny Vaughan on electric guitar and 12-string guitar; Jerry Roe on drums; and Paul Eckberg on drums. There are some guests on one track.

The album opens with “Yesterday’s Heavy,” which was written by Lisa Carver and Helene Cronin. Early in the song she sings, “You keep taking yourself and dragging your pain wherever you go/Taking it out on everyone who tries to get close/Why you got to hold onto the past/Don’t you get tired of the weight of all that?” We all have weight that we carry with us, and listening to this song, we might want to take a look inward, to take a fresh look at our own burdens, and see which ones we can finally let go of. This song exists somewhere where the pop, folk and rock realms overlap. Then “Make The Devil” opens with a question, one each of us asks at some point, perhaps shouting to the heavens, “Why do bad things happen to good people?” And indeed, this song directly addresses God. And, yes, if there is a god, he or she is going to have to answer some questions. I keep thinking about something I read about the concentration camps, that someone had written on the wall, “If there is a god, he will have to beg for my forgiveness.” Difficult to argue with that. In this song, Helene Cronin asks, “Oh, please explain, why did you make the devil?” This track has a false ending. Then when it continues, it goes into an instrumental section. I appreciate the presence of banjo, which has a comforting and grounding effect while the guitars raise their voices. “Make The Devil” was written by Davis Corley and Helene Cronin.

“Just A Woman” has an eerie opening, like spirits having become the wind. Then the piece takes on a melancholy tone, and features some really nice work by Emily Nelson on cello. And indeed the song is told from the perspective of the dead, opening with these lines: “They called me wicked/They called me devil’s child/They called me temptress.” This is a woman who was burned at the stake. The song’s perspective then changes, widens, to include other women’s lives from different times: “They thought they silenced me when the last breath left my body/But there’s so many like me with their own stories/And we will not be quiet.” This is a powerful song, its impact increased by the addition of several backing vocalists repeating “We will not be, we will not be, we will not be quiet,” an uplifting and empowering conclusion to the song. Wendy Moten, Vicki Hampton, Heidi Newfield and Shelly Fairchild join Helene Cronin on vocals on this track. Todd Locke is on keys, and Chris Powell is on drums. “Just A Woman” was written by Lisa Carver and Helene Cronin. That is followed by the album’s title track, “Landmarks,” which Helene Cronin wrote with Ava Paige Davis.  When I think of the word “landmarks,” I think of the town I grew up in, and the various indications that I am getting closer to home. But it’s not a word I think of in the city, and I think part of that is that the city is constantly changing, and when something new is built, it is often difficult to even recall what was there before. “And those are the signs that’ll guide us home/When you get away from what you know/Feel a little lost and a lot alone/If the water is deep, the waves are getting high/When all you want to do is turn around/Retrace your steps to solid ground/You can find your way back from wherever you are/By looking for the landmarks.” This song features some wonderful work on steel guitar.

“What Do You Lean On” is a song that is built around a question, and again, it invites us to take a look at our own lives. These last several years have put the question into focus. What has gotten you through these uncertain times? “Is it a phone call to an old friend you hope is going to pull you through?” Whatever it is, it has to be “Something strong enough to hold you up/‘Cause it’s made to take your weight.” “What Do You Lean On” was written by Andrea Renfree, Deidre Thornell and Helene Cronin. That’s followed by “Halfway Back To Knoxville,” which has a beautifully sad tone, featuring a moving vocal performance and some good work on steel guitar. “Tonight I’m halfway back to Knoxville/My heart’s just broke enough to see/Yeah, I’m halfway back to Knoxville/Because Knoxville ain’t coming back to me.” This line also stands out: “My regrets, they’re the gasoline.” This song was written by Phillip Lammonds and Helene Cronin. Then “Your Cross” is another song to use religious imagery, with Helene singing, “Now why am I being crucified” and “I’m done hanging on your cross.” This song has a serious feel and sound, with a steady, insistent rhythm.

Helene Cronin then goes further into the country realm with “Between Me And Your Road,” a song about being a traveling musician, and all that comes with that. “The empty rooms, the sold out shows/The miles we’ve got left to go/Well, that’s between me and the road.”  Bobby Terry delivers more great stuff on steel guitar. Then “You Do” opens with these lines: “I can hold onto a grudge ‘til my body aches/And I have trouble getting past my own mistakes/And I don’t forgive as easy as I should/As I wish I would.” It is a sort of confession, and her delivery is sincere. I also appreciate these early lines: “I’d have more patience if it didn’t take so long/I don’t always see the best in people/Or trust that good wins over evil.” And once we have aligned ourselves with her, seeing the truth of these lines in ourselves, she adjusts the perspective to another person, saying, “But you do,” and holding onto the word “you,” adding emphasis to that word, to really draw the comparison and to show how much that person is appreciated, and needed. “You hold me even when I’m hard to reach/When I fall apart, you keep your faith in me/You understand my wildest hopes/When to let me fly, when to pull me close/Half the time I don’t know what I need/But you do.” Oh yes, may we each have someone like that in our lives. This song features a beautiful vocal performance. “You Do” was written by Nicole Lewis and Helene Cronin.

There is more religious imagery in “What They Didn’t Build,” opening with these lines: “That steeple on the corner been pointing up to heaven since 1884/The whole town came out the day they hung that cross above the double doors/It’s where mama and daddy got married/It’s where I first believed.” The instruments fall out for the line, “But it will be gone next week,” so that particular line has a more intimate feel. The instruments then come back in with a power. “People love to tear down what they didn’t build.” That’s an interesting line, because of course it can apply to all sorts of things, not just physical edifices, and Helene Cronin gets into that here. This song was written by Ryan Larkins and Helene Cronin. That’s followed by “Bodies Of Water,” the album’s only track that Helene Cronin wrote alone. It’s a pretty song, particularly her vocal work. “And I can’t hold back the flood of emotion/Mystery deep as any ocean.” She then leaves us with a rather fun, delightful number, “Cross That River,” which has gospel elements and more religious references and imagery: “I want to walk on over like Jesus would.” The song is about lightening one’s load, a subject that might remind us of the album’s opening track, and it is totally catchy. “Those grudges will pull you under/So will regrets that you hang on to.” That line about grudges of course reminds us of the opening line of “You Do.” “Can I get an ‘amen’?” she asks at the end of the song.

CD Track List

1. Yesterday’s Heavy
2. Make The Devil
3. Just A Woman
4. Landmarks
5. What Do You Lean On
6. Halfway Back To Knoxville
7. Your Cross
8. Between Me And The Road
9. You Do
10. What They Didn’t Build
11. Bodies Of Water
12. Cross That River

Landmarks is scheduled to be released on February 3, 2023.

Turn Turn Turn: “New Rays From An Old Sun” (2023) CD Review

With a name like Turn Turn Turn, it is no surprise to find that this band’s music has some definite 1960s influences. Apparently, when they started, they were a cover band, though I don’t know if they focused on material by The Byrds or what. Well, the trio’s new album, New Rays From An Old Sun, contains all original material, written or co-written by Adam Levy. The group is made up of Adam Levy on vocals, acoustic guitar, electric guitar, banjo, keyboard, organ, synthesizer, glockenspiel and percussion; Barb Brynstad on vocals and bass; and Savannah Smith on vocals. Joining them on most of the album’s tracks are Peter J. Sands on piano, electric piano, organ, harmonium and harpsichord; and Josh Kaplan on drums. There are also a few guests on various tracks.

The album opens with “Stranger In A Strange Land,” its sound a delicious blast of pop. I need to revisit the Robert Heinlein book, but of course the phrase “stranger in a strange land” is quite a bit older than Heinlein’s novel. It comes from a passage in the King James version of The Bible. Likewise, most of the lyrics of the Pete Seeger song “Turn! Turn! Turn!” (from which the band takes its name) also come from The Bible. I think we’ve each felt like a stranger in a strange land in the last several years, and we are all here so briefly. Perhaps we aren’t given the time to become anything else. Check out these lyrics: “In black holes without ladders/As if it really matters/‘Cause you’re in heavy water in a paper boat.” This song features the trio’s excellent harmonies. It was written by Barb Brynstad and Adam Levy. “Stranger In A Strange Land” is followed by “Powder.” This song has a certain 1960s sound, particularly in that guitar work, and is catchy in the way many of those mid-1960s gems are (the vocal line at one point makes me think of The Monkees’ “Take A Giant Step”). Here is a taste of the lyrics: “Small distractions and accolades/Love affairs and debts to pay/Anything but looking in the mirror.” In addition to some excellent vocal work, Savannah Smith adds some whistling to this track.

In the first line of “Hymn Of The Hater,” we learn the setting is Boise, Idaho. As you might recall, Idaho is where those white supremacists were arrested in June of last year, having planned to disrupt a gay pride event. Also last year it was revealed that a retired Boise police chief was tied to hate groups. This song has some country rock elements, sounding like a song to be played at a roadside bar, though the lyrics might catch the stereotypical denizens of such places by surprise. Check out these lines: “I’ve seen them in the papers/And I’ve heard them at the gates/They’re camouflaged in glory/They’re prisoners of fate/They think they’re sober as a judge, but they’re just drunk on hate.” The song might have begun in Boise, but it concludes in Mobile. Hate groups are a nationwide problem. This track features some excellent work on keys. Scott Wenum plays drums on this one. Then “Dopamine Blues” has a pleasant sound that is immediately appealing, fitting with the idea of dopamine, though the song deals with a breakup. “Darlin’, am I on your mind?/Fallin’ for someone’s cheap lines/Why do I seem to be the one who/Lives in a dreamland fooled.” This track features more great vocal work, and that electric guitar certainly has a 1960s feel. The song seems to be concluding, then the acoustic guitar leads into a new section, in which they realize, “You just got to get through it/There’s nothing you can do but do it.” That final section also includes some playful “Ooh sha la-la” backing vocals.

One of my favorite tracks is “7 Kids,” in part because it contains some of the album’s best vocal work. Plus, I appreciate the presence of banjo, particularly as the song has the energy and vibe of a rock song. And check out that electric guitar. “We’re losing our touch and we’re losing our way/Am I losing my grip, guess I’d rather not say/One thing’s true, everything is gonna change/It feels so familiar, but damn it feels strange.” This is a fantastic, powerful song. Joe Savage is on pedal steel, and both Noah Levy and Josh Kaplan are on drums. That’s followed by “If You’re Gonna Leave Me,” which also features Joe Savage on pedal steel guitar. “We forget all the things we want to remember and we remember all the things we’d rather forget.” I love that work on organ, as well as the vocal work in that section. That leads straight into the next track, “My Eyelids Weigh Mountains,” one of the disc’s most interesting tracks. There is a John Lennon influence heard here, and there are also some country elements to this track. And check out these lyrics: “My eyelids weigh mountains/My dreams hide in cars/They drive across continents/And toward dying stars.” Plus, there is a seriously cool instrumental section. Benny Weinbeck is on electric piano. This is another of my favorites.

The album’s title track, “New Rays From An Old Sun,” takes us into a different realm, with elements of a fairy tale. It is a captivating song, featuring some pretty work on mandolin, and is yet another of the disc’s highlights. Peter J. Sands plays harmonium on this one. “The beast, she learned to be alone/Making gems from stones/She made herself a throne/And a castle from her children’s bones.” That’s followed by “Schisandra,” which has a sweet 1960s folk rock sound, and features some interesting and unusual lyrics. “Can you feel the pain, Schisandra, surrounding you?/The stories of billions, Schisandra, across galaxies in ruins/Violet, goldenrod and umber, celadon blue/Do your eyes see something, Schisandra?/Mine do too.” Then “Towards The Light” has a country rock vibe. Benny Weinbeck plays electric piano, and Noah Levy is on drums for this one. “Nobody knows where the first breath comes from and where does the last one go.” The album concludes with “Acceleration Dreams,” which has an easygoing groove and features more wonderful vocal work, plus some nice work on mandolin. “Girl cried roses, the boy cried wolf/Baby in the bath water, pennies in the dirt/Glad you had your fun, but it’s time to go.”

CD Track List

1. Stranger In A Strange Land
2. Powder
3. Hymn Of The Hater
4. Dopamine Blues
5. 7 Kids
6. If You’re Gonna Leave Me
7. My Eyelids Weigh Mountains
8. New Rays From An Old Sun
9. Schisandra
10. Towards The Light
11. Acceleration Dreams

New Rays From An Old Sun was released today, January 27, 2023.

Airmen Of Note: “The 2022 Jazz Heritage Series” (2022) CD Review

The Airmen Of Note is a United States Air Force jazz ensemble made up of active-duty musicians. Interestingly, it is one of six ensembles that make up the larger United States Air Force Band. This group plays big band jazz, as well as some more modern forms of jazz. The group is conducted by Colonel Don Schofield, who is commander and conductor of the entire United States Air Force Band. On the official website for the United States Air Force Band, it states that Colonel Don Schofield is responsible for “deploying Airmen musicians to perform nearly 1,600 missions each year,” but I’m pretty sure “missions” in this case simply means “concerts,” which is kind of adorable. Anyway, the group’s latest release, The 2022 Jazz Heritage Series, features three special guests joining them on different tracks: Sean Jones, Ted Nash and Diane Schuur.

The album gets off to a fun start with “Alright, Okay, You Win,” featuring Master Sergeant Paige Wroble on vocals. She delivers a delightful performance. I love the way she asks, “What are you waiting for?” I mean, seriously, that’s wonderful! This track also features great leads by Tech Sergeant Logan Keese on trumpet and by Tech Sergeant Matt Hettwer on trombone, all over a delicious groove. This track is totally raising my spirits.

Trumpet player Sean Jones then joins the band for three tracks, all compositions he wrote. The first is “Touch And Go.” A seriously cool rhythm sets the tone for this one, and then we get some lively, exciting work by Tech Sergeant Chris Ziemba on piano (actually, Chris Ziemba may have been promoted since this album’s release, for the website lists him as Master Sergeant). Whatever his rank, he delivers some fantastic work on this track. And of course Sean Jones keeps the energy up on trumpet. This track also features some excellent work by Tech Sergeant Mike Cemprola on alto saxophone (hey, it looks like Mike Cemprola was also promoted to Master Sergeant). But my favorite element of this excellent track is the drumming by Master Sergeant David McDonald. Phenomenal work. This piece was originally included on Sean Jones’ 2011 album No Need For Words. Things then mellow out a bit with “Life Cycles,” this one offering more room for contemplation and reflection. It comes from Sean Jones’ appropriately titled album The Search Within, released in 2009. This track features some really nice work on soprano saxophone by Master Sergeant Kristian Baarsvik. I also like the bass line by Tech Sergeant Ben Thomas. The final of the three tracks to feature Sean Jones is “Into The Sun,” a tune from his 2005 album Gemini. It’s not long before this one gets into a good groove, featuring another great bass line. Yes, there is certainly a funky element to this track. It also features some delicious work on trumpet, as well as some wonderful work by Senior Master Sergeant Grant Langford on tenor saxophone. This track is one of my personal favorites, this rendition surpassing the original version. These guys jam, trading licks, and there is a great deal of joy to their playing.

Ted Nash then joins the group on saxophone for three tracks. Nash has released several albums as band leader, and has worked with Lincoln Center Jazz Orchestra and Wynton Marsalis. He is also co-founder of the Jazz Composers Collective in New York. And though Ted Nash is a composer of note, the three tracks he plays on were written by other artists. The first of those is “Inner Urge,” composed by Joe Henderson. This is an interesting piece. There is a sense of intrigue at the beginning, some hint of mystery. It isn’t long before we are treated to a good lead on bass. This track also features a lot of great playing on saxophone, from Ted Nash and also from Master Sergeant Tedd Baker. This piece grows in power in the second half, particularly because of the work from the brass section. The second track to feature Ted Nash is “Tones For Joan’s Bones,” written by Chick Corea. This rendition likewise has a sense of excitement about it as it begins, featuring some good work on flute. Then a brighter tone takes over. In addition to excellent work on saxophone, this track features some great work by Master Sergeant Kevin Cerovich on trombone. I also appreciate Senior Master Sergeant Geoff Reecer’s guitar playing. The final of the tracks to feature Ted Nash is Jackie-ing,” written by Thelonious Monk. Like Monk’s original recording, this track opens with some wonderful work on drums. This track also features some spirited work by Master Sergeant Luke Brandon (who is listed as Lucas Brandon on the band’s website) on trumpet, as well as a delicious bass line that keeps this piece moving.

Vocalist Diane Schuur joins the band for the album’s remaining tracks. Interestingly, the first three are all songs that she included on her 1987 album, Diane Schuur And The Count Basie Orchestra. The first is “You Can Have It,” written by Morgan Ames and Frank Foster. This song moves at a fast pace, and is a lot of fun. “If you like good music, you can have it/You can have it any time at all.” Oh yes! She delivers some playful scat in the middle, and the band seems to be working on some high level of joy and delight, existing in a place I think we’d all like to spend a good deal of our time. The group then mellows things out for “We’ll Be Together Again.” “No tears, no fears/Remember there’s always tomorrow.” I think we hear those opening lines a little differently when the musicians playing the song are in the military. Anyway, this is a beautiful and moving rendition, featuring Master Sergeant Tedd Baker on tenor saxophone. Then we get “Deedles’ Blues” (erroneously listed as “Deedle’s Blues” on the CD case). This is another joyful and lively piece. “Yes, I met him on the corner/It was pouring rain/He said, come on in here, baby/And tell me what’s your name.” Diane Schuur’s nickname is Deedles, and she delivers an energetic performance. This track also features some great stuff by on guitar. The final track features not only Diane Schuur on vocals, but also the other two special guests, and that song is “Bésame Mucho,” written by Consuelo Velazquez. And once again, this band delivers a joyful, exciting rendition.

CD Track List

1. Alright, Okay, You Win
2. Touch And Go
3. Life Cycles
4. Into The Sun
5. Inner Urge
6. Tones For Joan’s Bones
7. Jackie-ing
8. You Can Have It
9. We’ll Be Together Again
10. Deedles’ Blues
11. Bésame Mucho

Burning Manilow Performs At Celebration Of Eagle Rock Music

Burning Manilow playing "Don't Think"

Burning Manilow was the last band I went to see perform before the pandemic shut everything down in March of 2020. It was my birthday. A last hurrah before things descended into uncertainty. Now, nearly three years later (and with the pandemic still going, I might add), I had a chance to see them again. They played last night at the Center For The Arts in Eagle Rock, as part of the NELA Music Series. They were on a bill that also included Joal Ryan, Joel Jerome, Eagle Rock Isolation Band and Dan Olivo. And actually, there was one other band that kicked off the night, but I arrived a bit late and missed that set. There was a fairly wide range of music performed on the stage last night, with all the artists having in common the fact that they are based in the Eagle Rock section of Los Angeles. I have heard it said that Los Angeles has no sense of community, but that just isn’t true. There are several vibrant communities spread throughout the city, as events like this concert demonstrate.

The show was scheduled to start at 7 p.m., and must have begun on time, because when I walked in at 7:30 the first band was just wrapping up its set. This was the first occasion in quite a while that I had to show my vaccination card to get in, but I was happy about it because it meant it was likely going to be a relatively safe environment. The show was all ages, and while adults had to pay ten dollars to get in, children were allowed in for free. And they were also free to run around inside. It was a relaxed, friendly atmosphere. There was alcohol available, and the money went to support the place, so I had a beer.

There wasn’t a long time between performers, and Joal Ryan was soon on stage, with her husband joining her on guitar. She played some songs from her recent release, All The Things. My favorite song of her set was “Who’s Got It Better Than Us.” Joel Jerome followed her, his four-piece band covering songs like “All The Young Dudes” and “Our Lips Are Sealed,” and delivering a kind of punk rendition of “Strawberry Fields Forever,” which worked surprisingly well. Next up was Eagle Rock Isolation Band, which opened with the theme song from Mister Rogers’ Neighborhood, performing it in earnest. They also played “Me And Julio Down By The Schoolyard” and “The Weight,” along with one original composition. But the highlight was their rendition of 4 Non Blondes’ “What’s Up.” This show was sort of the group’s first real gig, and they joked about it: “This is the first time we’ve been on a stage. Every other stage was a lawn.”

Burning Manilow then took the stage. For this gig, they had a different drummer (Frankie Martinez) and different keyboardist (Karyn Dale). They did a short set, just five songs, kicking things off with one of my favorites, “Don’t Think.” I always love that moment when this song kicks in for the chorus. This is a great choice for set opener. They followed that with “Old Shoes,” with Laura explaining afterward that the lyric is “spit and feathers,” not “spittin’ feathers,” as some have heard it. That was then followed by “Nobody Knows,” which had such a good groove. Next on the set list was “I Can’t Go,” a cool song that kind of creeps in and then just takes hold of you. This song, for me, was a highlight of the night. They then wrapped up the set with “Forever Project.” And it was all over much too soon.

But the night was not yet complete. There was one more artist on the bill, Dan Olivo. As his band was setting up, I got excited because there was a standup bass and trombone being brought onto the stage. Dan Olivo soon demonstrated his vocal talent, opening his set with “Day By Day.” In addition to trombone and bass, his band included guitar and drums. And they did a short set of standards, including “Fly Me To The Moon.” They ended the set by taking us down to New Orleans with a fun rendition of “Bourbon Street Parade.”

Here are a few photos from the night:

Joal Ryan

Joel Jerome

Eagle Rock Isolation Band

Burning Manilow playing "Old Shoes"

Burning Manilow playing "Nobody Knows"

Burning Manilow playing "Forever Project"

Dan Olivo

Dan Olivo

Dan Olivo

Dan Olivo

The Center For The Arts Eagle Rock is located at 2225 Colorado Blvd., in Los Angeles, California.