Ian Jones: “Results Not Typical” (2023) CD Review

Ian Jones is a singer and songwriter based in Seattle. In 2021 he put out an EP titled The Evergreens, and is now following that with a new full-length release, Results Not Typical (his first full-length album in more than a decade). The album features all original material, written or co-written by Ian Jones. The songs are in the folk and country realms, most of them dealing in one way or another with the road. Joining him on these tracks are Jason Soda on guitar, Dave Palmer on piano and keyboards, Aaron Embry on organ and piano, Gabe Noel on bass and cello, Johnny Flaugher on bass, Joey Waronker on drums, and Jesse Siebenberg on pedal steel and electric guitar. Jesse Siebenberg also produced this album. There are also some guests on certain tracks.

The disc opens with a song that I will be adding to my road trip play list, “Rollin’,” in which Ian Jones sings, “So then I put my feet on uncertain ground/With my guard up to keep from falling/But I didn’t seem to find any peace around/And so I hit that road, and I’m still rollin’.” This song has a sweet country flavor, with some nice work by Dave Palmer on piano, and also by Jesse Siebenberg on pedal steel. There is a lonesome vibe about this song, putting me in mind of certain road trips when I was out in the middle of the country on my own. That’s followed by “You Can’t,” which begins with a glorious burst of energy, and then settles into a more relaxed vibe. “I’ve been here before/I’ll be there again/It can be hard to handle/You try to run, but you can’t/You think there’s a way/To take back what you say/But it’s permanent.” That’s interesting. Is anything permanent? This song puts us at a crossroads, sets us in between. And isn’t that where we spend most of our lives, between here and there? Between memory and hope, between regret and longing. And that is the feeling of this song, in large part because of his vocal delivery.

“Lost Highway” has a good, pleasant groove, one that makes me want to move, to get on the road. For, yes, as you might have guessed from its title, this is another great song to have with you on the road. Here is a taste of the lyrics: “Hard to travel with no destination/And I, I’ve been driving since the break of day.” And here we have some horns to help us on our way. Lee Thornburg does the horn arrangement, and Paulie Cerra is on the woodwinds. I also like Aaron Embry’s organ work. This song delivers a good dose of optimism, “Grey skies will be blue again.” I think we can all use a bit of that, eh?

In Steve Owen’s “Longing To Be” (a song I’ve included on a few mix tapes and CDs for the road), he sings, “It’s a different kind of cursing, but ‘someday’ is the dirtiest word.” That is a line I have thought about a lot over the years. And on this album, Ian Jones gives us a song titled “Someday,” which begins with these lines: “Take me by the hand/And lead me back home/See the shadows falling/But I ain’t got nowhere to go/They say that better days are coming/But they’re not saying when/Someday we’ll all be together again.” There is something hopeful in that, of course, but also something sad. And I wonder how certain he is of that statement. There is some anger in his delivery, as he tells us, “And as angry I am/I can’t stop thinking about them/May God have mercy on their souls/As he reaches down to take them.” So many people disappear from our lives. And no one knows if we’ll ever see them again. Then “Athens Smiles” has a pleasant, cheerful vibe and rhythm, and Ian Jones’ vocal approach changes to suit that feel. This track features some good work by Dave Palmer on piano. And don’t worry, there is still something of the road in this song, as Ian Jones delivers these lines: “Down the dark and lonesome highway/The emptiness stretched out for miles/She’d been driving fifteen hours/But nothing changed but the time/And she saw wild running horses/And rolling hills stretched out for miles.” That line about rolling hills reminds me of the maps and directions I would get from AAA on my lengthy road trips. There would be a description of the landscape on each page, and for page after page it would say “rolling hills.” This song also features some nice work on strings, with Paul Jacob Cartwright doing the arrangement.

“She Is Lost” then takes things down, and brings them in close, opening with some soft work on piano, giving us a sense of solitude. And he is in motion, the song’s first line being “Slowly now I wander off the road.” Partway through, the strings and rhythm come in. There is some pretty work on cello. Gabe Noel plays both bass and cello on this track. Fernando Apoclaca is on strings. “And sometimes I feel great/And other times feel like giving up/And then I figure out/I’ve got no place left to run to/And now that time has passed/I see the strength in going nowhere/I’m going nowhere fast.” Wow, this song builds in power, and in emotional impact. And in beauty. What a passionate delivery. “Again” also finds its characters in motion, but under different circumstances: “The sun went down and we never looked back/We ditched the body ‘neath the railroad tracks/Crossed the border and headed south/Where it was easier to fit in.” And there is a certain tension as he tells us, “I’m on the run again.”

There is another good rhythm in “Without You I’m Lost.” Interestingly, this one also begins by mentioning the sun, but while it was going down in the previous song, here it is shining, rising: “I’ve seen the sun shining/Climbing out of the deep blue sea/Watched it kiss that sweet mountaintop/That rises above those trees.” The sun seems to match the feel and groove of this song, and adding to that vibe is the presence of the horns. “Been working just to please you ‘til the day I die/I’ve done everything that a man can do/You think I’m joking, but baby, I’m not/And you know that without you I am lost.” I love Lee Thornburg’s work on trumpet. This is a lively number. It was written by Ian Jones and David Bickford. It’s interesting to follow a song titled “Without You I’m Lost” with a song titled “You’re Gone.” This one has a wonderfully sad country sound. “I’ll be up again tonight/I’ll be up again before the dawn/But you’ll be in someone else’s arms/Because you walked out on me/And now you’re gone.” I love that pedal steel. This track also features a really nice lead on guitar. That’s followed by “Have Mercy,” another wonderfully sad song, this one a waltz. “All alone at the end of the day/I was wondering what I did wrong trying to make you stay/Even got down on my knees/Still, you went away.” Ian Jones delivers a really nice vocal performance.

The album concludes with “Goodbyes Are The Hardest Words,” a beautiful and moving song. “Well, you think that we might have learned/From the choices we’ve had to take/And all those mistakes that we both made/And if heaven’s real/We’ll find the answers to questions we’ve had to make.” I hope there is something else after this life, though reason tells me there isn’t. But no one knows, and goodbyes wouldn’t be as difficult if we knew we’d be with our loved ones again. “So for now I’ll just say I love you/And I’ll see you in a little while.”

CD Track List

1. Rollin’
2. You Can’t
3. Lost Highway
4. Someday
5. Athens Smiles
6. She Is Lost
7. Again
8. Without You I’m Lost
9. You’re Gone
10. Have Mercy
11. Goodbyes Are The Hardest Words

Results Not Typical is scheduled to be released on April 7, 2023.

Allegra Levy: “Songs For You And Me” (2023) CD Review

Allegra Levy is a jazz vocalist and songwriter, known for her original compositions. She released her first album, Lonely City, in 2014, and followed that with albums in 2017, 2018 and 2020. Her song “Waste My Time” took first place in the Great American Song Contest, Adult Contemporary category. In 2020, while concert venues were shut down due to the pandemic, the John Lennon Songwriting Contest added a weekly competition titled “Stuck At Home.” Allegra Levy’s “Wash My Hands” was the winner in August of that year. That song taught children (and adults) the benefits of following safety protocols, such as washing hands, wearing masks and keeping a safe distance. And now she is releasing her first full-length album aimed at a young audience, Songs For You And Me. The album contains all original material. Joining her on this release are Neha Jiwrajka on flute, glockenspiel and backing vocals; Jason Yeager on piano, celeste, organ and toy piano; Andrew Baird on guitar, ukulele and banjo; Timothy Norton on bass; Sammy Wags on drums and percussion; Katie Seiler on backing vocals and whistling; and Tomas Cruz on backing vocals. There are also some guests on certain tracks.

The album opens, appropriately enough, with “Hello Song,” which has a sweet folk vibe, with some nice work on guitar. “Hello to you, and how do ya do?/I’m happy to see you again.” She then offers ways of saying hello in different languages, and later in the song we hear children offering their own greetings. That’s followed by a delightfully goofy song titled “Noodles!” It is so joyful, and should instantly raise your spirits, even if you don’t like pasta. And for someone like me who would love to eat pasta during every meal, it is a total treat. Each verse is about a different type of pasta, and the kids shout out the name when prompted: “Macaroni!” and “Spaghetti!” and “Tortellini!” and “Ravioli!” And there is a section where the kids shout out various names of pasta. And, yeah, the line “You’re not sharing, then you’re a meanie” reminds me of Jim Infantino’s “Meanies.” This track is one of my personal favorites.

“It’s So Hard To Be You” is another of the disc’s highlights. Right from the start, the presence of a horn section announces this is going to be a great track. Dan Urness is on trumpet, Mike Fahie is on trombone, Roxy Coss is on tenor saxophone, and Aidan Levy is on baritone saxophone. This is a jazzy number, featuring some wonderful work on piano and some fun percussion. “Oh, it’s so hard to be us/Yes, it’s so hard to be us/We hate to make a fuss/But it’s so hard to be us.” This track also features some good backing vocal work, and I love that instrumental section in the second half. And, perhaps most importantly, she offers some comfort in these lines: “But I’m here to tell you/That come what may/You’re gonna be okay.” A message that is good for adults, as well as children, to hear from time to time. Then “Los Animales” is a sweet tune that teaches kids the Spanish words for various animals. It has a fun rhythm, and features some nice work on flute.

I mentioned Jim Infantino earlier, regarding the “meanies” line. When the pandemic shut things down, he covered Tom Waits’ “Clap Hands,” changing it to “Wash Hands.” Well, Allegra Levy already offered “Wash My Hands,” and now on this album gives us “Clap Your Hands.” As you might guess, this one is all about the rhythm. “Clap your hands, stomp your feet/Everybody’s moving to a brand new beat.” And I dig that work on organ in the second half. Aubrey Johnson and Leslie Gauthier join Allegra Levy on backing vocals on this track. That’s followed by another delicious jazz number, “In The Tub.” Some of the horn section is back, delivering a brief, but great introduction before Allegra comes in on vocals, and then delivering some wonderful touches throughout the track. Dan Urness is on trumpet, and Mike Fahie is on trombone. This is a bright, positive tune, featuring a fun vocal performance. “You can always wash away your troubles/With some bubbly bubbles in the tubby.” Hmm, think I might take a bath, for this song has me believing it will do that trick.

In “Hip, Hip, Hooray!” Allegra Levy sings, “When you’re feeling kind of lousy/When you’re feeling kind of blue/Sing this song and you’re feeling brand new/Hip, hip hooray!” and the children echo her “Hooray!” And there is even some kazoo. This track features excellent work on both guitar and piano, and then the kazoo, guitar and piano come together, another delightful moment. That’s followed by “I Got A Boo-Boo.” Hey, any song that opens with bass and finger snaps has my attention. But what I especially love about this track is that Allegra Levy gives a seriously cool vocal performance, but is singing about having a boo-boo. She is clearly having a great time. And there is a section of piano and percussion that is perfect. And then, guess what, Dan Urness and Mike Fahie come in to take things up another level. And the song isn’t over yet. In fact, it gets a bit goofier. Okay, I wasn’t expecting her to sing about having “a booger.” Yeah, there is a certain juxtaposition here, which I appreciate, with how cool the sound is, compared with the subject matter.

“Toodaloo, Kangaroo!” is a light and playful tune. Not enough songs use the word “Toodaloo.” In fact, the only one I can think of offhand is the Grateful Dead’s “Mississippi Half-Step Uptown Toodeloo.” “Toodaloo, Kangaroo!” is followed by “The Way Of The World,” the last of the album’s tracks to employ the horn section. And this time it is the full section, with all four musicians. This track has a pleasant, easygoing vibe. “Come on, I want to love you/I want to hold you/And when I’m thinking of you/I know that you are the way/The way of the world.” Then “Imagination” is a song that takes place on a rainy day, so no going out and playing. “Gonna have to use our imagination today/Oooh, we’re going to make a better world/For you, we’re gonna make a better world/For you and me.” That’s followed by “Stella For Star,” a sweet, pretty song. Allegra Levy places the more mellow numbers at the end of the album, perhaps the idea being to get the kids to bed by the end. This track contains one of the album’s best vocal performances. I love the way she delivers this one. The track also contains some excellent work on guitar. It is another of the disc’s highlights. The album concludes with “A Quiet Song.” And, indeed, she opens it with the line, “Goodnight, lady, goodnight, love.” So the intention must be to calm the children as the disc approaches its end. And the adults too.

CD Track List

1. Hello Song
2. Noodles!
3. It’s So Hard To Be You
4. Los Animales
5. Clap Your Hands
6. In The Tub
7. Hip, Hip, Hooray!
8. I Got A Boo-Boo
9. Toodaloo, Kangaroo!
10. The Way Of The World
11. Imagination
12. Stella For Star
13. A Quiet Song

Songs For You And Me is scheduled to be released on April 7, 2023 on Little Moon Records.

The Beatles And World War II DVD Review

The year 1976 saw the release of All This And World War II, a strange movie combining footage from World War II and World War II movies, set to Beatles songs performed by other artists. I had long heard of this movie, but had never seen it because it apparently had not received an official DVD release, or even a proper VHS release. And supposedly the movie flopped upon its initial release. Well, in 2016, Tony Palmer, who had worked on the original film, re-edited the footage and released it on DVD under the title The Beatles And World War II (which is obviously not nearly as good a title, for the play on the word “too” isn’t as strong). Tony Palmer had worked on 200 Motels and had directed the Leonard Cohen documentary Bird On A Wire before working on All This And World War II, and left that project before the final cut in order to work on his series All You Need Is Love. How different The Beatles And World War II is from All This And World War II, I can’t say, having never seen the earlier film. Tony Palmer considers it a whole new film, though it uses at least some of the same footage and uses much of the same music. Half a dozen songs from the original film were dropped from this release. And clearly the ending is new. But the concept remains the same, which is to tell the story of World War II with Beatles songs. And for someone like me, a Beatles fan who is fascinated by World War II, it is an odd treat. And in addition to the DVD, the package includes two CDs containing the Beatles songs used in the movie, presented in basically the order in which they are heard in the film.

The film opens with footage from 1939, of people as yet untouched by war. And it is not Beatles music we hear, but rather Shakespeare’s Sonnet 18, the one that begins “Shall I compare thee to a summer’s day?” We then see footage of Franklin D. Roosevelt saying that he wishes the United States to stay out of the war. Then over footage of Hitler, we hear Helen Reddy performing “The Fool On The Hill,” and so the song becomes a comment on that wormy maniac. And as England declares war, the song continues, and soon we see crowds of Germans cheering Hitler. David Essex sings “Yesterday/All my troubles seemed so far away” as cannons fire. At times, there is a strange but wonderful humor to the film. For example, on the line “Why she had to go,” we see planes diving. And on “The Long And Winding Road,” we see abandoned, damaged vehicles on the side of a road. And that footage of people dancing while wearing gas masks is darkly funny.

“I Am The Walrus,” performed by Leo Sayer, plays over footage of the Battle of Britain. And it’s a really good rendition. One of the best songs in this film is Tina Turner’s rendition of “Come Together,” which plays over footage of Japan. She totally nails it. Interestingly, after that, the film goes back to “I Am The Walrus” for footage of Pearl Harbor. That segment contains some seriously powerful footage. Then the footage of U.S. citizens signing up for the armed services is accompanied by “Maxwell’s Silver Hammer.” And we do get that footage of James Stewart signing up. Then as women join the efforts, we hear Bryan Ferry’s rendition of “She’s Leaving Home.”

The film does address the shameful business about rounding up citizens of Japanese descent here in the U.S., and “Let It Be” plays over that footage. That’s another of the musical highlights, that version done by Leo Sayer (the third track Leo Sayer contributes to the movie). Jeff Lynne contributes a good version of “Nowhere Man,” which plays over the footage of the war in the Pacific, as well as an interesting rendition of “With A Little Help From My Friends.” Elton John’s rendition of “Lucy In The Sky With Diamonds,” which had been released as a single, is used in this film, and as John Lennon performs on that track, there actually is a Beatle heard in this movie. It is footage of the Battle of Midway that we see while that song plays. At one point, that song turns to reggae, which always surprises me. Rod Stewart offers a strong rendition of “Get Back,” and The Bee Gees deliver a good version of “Golden Slumbers” (keep in mind, the original film came out a couple of years before the Sgt. Pepper’s Lonely Hearts Club Band film). One of the oddest recordings in this film is Frankie Valli’s version of “A Day In The Life,” which plays during footage of the storming of the beach, though Keith Moon’s rendition of “When I’m Sixty-Four” is also in the running. Richard Cocciante offers a fairly powerful rendition of “Michelle,” which is heard during footage of the liberation of Paris. It is certainly another of the musical highlights.

There is some footage I’d like to learn more about, such as the public shaving of women. I also like the footage of the various things painted on the sides of planes. That’s a cool montage. And there is some great footage of children burning Nazi symbols, while we hear Peter Gabriel’s version of “Strawberry Fields Forever.” The film does deal briefly with the horrors of the atomic bomb, and there is some concentration camp footage near the end, which is difficult to watch, and interestingly, that is positioned after footage of celebration, which makes it all the more striking and horrifying. The movie then includes more recent footage, of children suffering from hunger, of other wars, and of the current dictator of Russia, making the point that the troubles did not end with World War II, that humanity continues to struggle. This footage is unnecessary, and feels tacked on, rather than being the natural conclusion to the film. But this movie is still absolutely worth watching.

The Beatles And World War II was directed by Tony Palmer. (All This And World War II was directed by Susan Winslow.) The movie was edited by David Hughes and Tony Palmer. I am so glad to have this movie on DVD and its soundtrack on the two CDs. By the way, the CDs do include some of the speeches as well as the music, and also include “We Can Work It Out,” a song not included in the new movie, and a bit from an interview with John Lennon. However, I do wish that there were a fourth disc included in this great package, one with the original version of the film. Then it would be complete. The Beatles And World War II was released on DVD on August 5, 2016.

Stephen Stills: “Live At Berkeley 1971” (2023) CD Review

It must have been something to catch live music in the late 1960s and early 1970s. So much great music seems to have just poured out of certain artists at that time. Take Stephen Stills, for example. By the summer of 1971, he had already put out three albums with Buffalo Springfield, one with Crosby, Stills & Nash, two with Crosby, Stills, Nash & Young, and two solo albums. Oh, and let’s not forget Super Session, an album he recorded with Mike Bloomfield and Al Kooper. Well, following the release of that second solo album, he embarked on his first solo tour, which included a couple of shows at The Berkeley Community Theater in August. Live At Berkeley 1971 contains selections from those shows, chosen by Stephen Stills himself. And the musicians backing him on some of these tracks include David Crosby on guitar and vocals, Steve Fromholz on guitar and vocals, Sidney George on alto saxophone and flute, Paul Harris on organ, Joe Lala on congas and percussion, Calvin “Fuzzy” Samuels on bass, and Dallas Taylor on drums, along with The Memphis Horns. Most of the songs on this disc were written by Stephen Stills, and Stills co-produced this release.

The album opens with “Love The One You’re With,” the lead track from Stephen Stills’ first solo album, a song that was also released as a single, becoming a big hit for him. It was also included on the Crosby, Stills, Nash And Young live album 4 Way Street. The version here has a great energy, particularly in his vocal performance, and features some good percussion. The sound quality to this live recording is excellent, by the way. That’s followed by “Do For The Others,” which also follows “Love The One You’re With” on that first solo record. There is applause as the crowd recognizes it. It’s a beautiful song, and this version features some really good vocal work. “She is gone, there is no tomorrow/It is done, so now he must borrow/The life of his brothers/And living in sorrow/Must do for the others.”

So, following this tour in 1971, Stephen Stills formed yet another incredible band, Manassas, with Chris Hillman (of The Byrds and The Flying Burrito Brothers), Al Perkins (of The Flying Burrito Brothers), and several members of his touring band. They put out a self-titled double album in the spring of 1972, and one of the songs on that album is “Jesus Gave Love Away For Free,” a song that Stephen Stills also performs on this live album. It’s a sweet-sounding country number featuring some nice work on guitar. This live version has a somewhat different vibe from the Manassas studio version, for it lacks the pedal steel, but I think I actually prefer this live recording. “And we all know that people/Ain’t made to live lonely/They need to be trusted/And loved by one only.” Stephen Stills then invites David Crosby out for “You Don’t Have To Cry,” a song from that first CSN record. There is a short introduction (which is actually included at the end of the third track), in which he talks about the first time he met Crosby. The crowd is understandably excited to hear this one. This version is wonderful, with excellent vocal work, as you’d expect, and some really good stuff on guitar as well. David Crosby and Stephen Stills also play “The Lee Shore,” a song David Crosby wrote, and one that was included on 4 Way Street. This one has a more somber sound.

We then get a couple of songs from his second solo album, starting with “Word Game,” this one also having a serious tone. “It’s incredibly sick, you can feel it as across the land it flows/Prejudice is slick, when it’s a word game, it festers and grows.” I love the way he holds onto the “s” in the word “sick,” as he did on the studio recording. Sadly, this line still seems to be the case: “People see somebody different, fear is the first reaction shown.” Otherwise, there wouldn’t be this strange anti-transgender prejudice we’re seeing growing these days. This is a powerful song, and the crowd responds to it. Then Stephen Stills switches to piano for “Sugar Babe.” “People need love/People need trust/People need one another/And that means us.” And I love toward the end when he belts out certain lines.

“49 Bye-Byes” is a song that was included on the first CSN album, and then on the CSNY album 4 Way Street, where it is paired with the Buffalo Springfield song “For What It’s Worth,” though labeled as “America’s Children.” On that recording, he includes a spoken word section touching on the political landscape. On this release, “49 Bye-Byes” is also paired “For What It’s Worth.” Stephen Stills is again on piano. As he goes into “For What It’s Worth,” he asks the crowd to clap, and delivers a strong vocal performance. He starts to go into the spoken word section, but cuts it short, telling the crowd: “Well, as you all probably know, this is the part of the song where I start to run it down, you know, gonna tell everybody where it’s at and all that stuff. But this is primarily a music show, so I think I’ll get back to some music.” Did he change his mind about talking? Interesting.

Stephen Stills returns to the guitar for “Black Queen,” a song from his first solo album. It begins with some excellent work on guitar. He doesn’t ask the audience to clap along, but for a moment the folks do anyway. This is a cool, bluesy number. Then from the second solo album comes “Know You’ve Got To Run,” on which he plays banjo. He delivers another passionate vocal performance. “You expect for me to love you/When you hate yourself, my friend.” This song was written by Stephen Stills and John Hopkins. “Bluebird Revisited” is another song from that second solo album, but one that builds from the Buffalo Springfield song “Bluebird.” And for this one, he has the full band backing him. It is a soulful number, and features some wonderful work from the horn section, and some good work on electric guitar toward the end. This track has a great energy. The band also seriously delivers on “Lean On Me,” a song written by Percy Bradfield, Wayne Jackson and Andrew Love.

“Cherokee” is another song from the first Stephen Stills solo album. And right from the start, the band is cooking. They jam on this one, the horns getting a chance to really shine. This live version is quite a bit longer than the studio recording, highlighting the talent of the musicians joining Stephen Stills on stage. Stephen Stills then introduces the band. The introductions are presented as a separate track, which is handy for the next time you listen to the album and wish to skip them. The track is more than four minutes, which might seem like a long time to make introductions, but Stephen Stills adds to them, as when he mentions that Sidney George played seven different horn parts on the album version of the next song, and when he jokes about all the different mistakes reviewers have made regarding Steve Fromholz’s name. Then the band launches into “Ecology Song” to close out this disc. This is a song from the second solo album, with lyrics that are sadly still pertinent. “America is lost, figuring the cost/You can hang your head in shame, it's disgusting/Mother nature made it green/Prettiest place you've seen/People don't know what they need/Open your window/What do you see?/Do you remember/How it used to be?”

CD Track List

1. Love The One You’re With
2. Do For The Others
3. Jesus Gave Love Away For Free
4. You Don’t Have To Cry
5. The Lee Shore
6. Word Game
7. Sugar Babe
8. 49 Bye-Byes/For What It’s Worth
9. Black Queen
10. Know You’ve Got To Run
11. Bluebird Revisited
12. Lean On Me
13. Cherokee
14. Band Introductions
15. Ecology Song

Live At Berkeley 1971 is scheduled to be released on April 28, 2023 through Omnivore Recordings. Apparently, it is going to be available on vinyl (as a double album) as well as CD.

D.B. Shrier Quartet: “D.B. Shrier Emerges” (1967/2023) CD Review

Tenor saxophone player D.B. Shrier put out only one record in his lifetime, the 1967 album D.B. Shrier Emerges, which was released on Alfa Records. It was apparently a very small pressing, and so not a lot of folks got the chance to enjoy the music. But now Omnivore Recordings has put out a special expanded edition of the album with five bonus tracks. The story of how this special release came to be is contained within the CD liner notes, written by Alan Sukoenig, and of course the story includes coincidence and serendipity. How else would rare albums like this one, complete with bonus material, ever get into our hands? And the bonus tracks include one piece composed by D.B. Shrier. The quartet is made up of D.B. Shrier on tenor saxophone, Mike Michaels on piano, Tyrone Brown on bass, and William Roye on drums (though two of the bonus tracks feature other musicians). According to the liner notes, these tracks are the first recordings that Tyrone Brown ever did, quite a while before his work with Max Roach. The tracks were restored and mastered by Michael Graves at Osiris Studio in Los Angeles, and the re-issue was produced by Alan Sukoenig and Cheryl Pawelski.

The album opens with “Blue Lights,” a piece composed by saxophonist Gigi Gryce. This track is moving and cooking straight out of the gate. It has a delicious, loose feel to it, like it is happening at some little underground club, where folks are drinking and dancing. There is a delicious section where the bass and drums are grooving. The piano is then added, but that doesn’t mean the drums are going to relax at all. There is a raw, wonderful energy to this track. It is interesting how long D.B. Shrier is absent from the opening track. But when he does come back in, his sax has plenty to say, and the band jams. This is a live recording, and at the end you can hear the crowd applauding. It doesn’t sound like a particularly large audience. It must have been something to be a part of it. “Blue Lights” is followed by a composition by Tyrone Brown, “East,” with a change of pace from the first tune, this one slower, easing in with a hypnotic theme on saxophone, and with a rhythm that is steady and almost ominous. The piano, in contrast, has a sort of magical, light feel at first, before then settling into this strange, haunting atmosphere. And the sax is like a voice from another land, introducing us to its history, in all its wild sadness and desire. There is a need expressed in the playing. That is in turn followed by “Raveesh,” a piece written by Mike Michaels. This one also seems to be coming from some distant land, or creating its own world. There is something loose in the presentation, like a somewhat relaxed introduction to this place. And yet there is an understated power, something below the surface, moving and thriving.

Those first three tracks were recorded at Community College in Philadelphia. Then “These Foolish Things” was recorded in a studio, and has quite a different feel. The saxophone has a delicious late-night vibe, calm, soothing, perhaps a bit lonesome. There is some beautiful playing here, the instrument growing in loquacity. That lead is followed by some really nice work on piano, continuing that late-night feel. The original album concludes with a cover of “All Blues,” the Miles Davis tune, recorded at The Riddle Paddock in Lima, Pennsylvania. Some crowd noise is audible as the quartet eases in, and it is not long before the musicians are digging in. There is some absolutely wonderful and captivating work on saxophone. Why did D.B. Shrier not record another album? Crazy. At the end of that first lengthy lead, the audience applauds. This track also features some excellent work on piano, as well as a cool lead on bass toward the end.

Bonus Tracks

The bonus tracks begin with a piece written by Tyrone Brown, recorded at Community College. There is an introduction to this one: “For want of a better title, he’s called it ‘Opus #3.’” An interesting rhythm is soon developed, bringing to mind people marching in some wooded area or jungle toward danger. But then perhaps what is feared turns out to be all right, and the march feels more and more like a dance, though of course it is possible that it is just our sense of things that has changed. Whatever is happening, however, it is the saxophone that soon is in charge. The mood then gets a lot lighter with “Indiana.” This one was recorded in 1963 at Houston Hall Rehearsal Room at the University of Pennsylvania. There is certainly some joy here, and I especially love that lead on bass. Toward the end there is some exciting work on drums. This track features the trio of D.B. Shrier on tenor saxophone, Bob Pitcoff on bass, and Allan Elgart on drums.

D.B. Shrier’s rendition of Charlie Parker’s “Steeplechase” was recorded at a party at the Shrier family home in Newton, Massachusetts, and features the quartet of D.B. Shrier on tenor saxophone, Ron Brown on piano, Phil Morrison on bass, and Bill Elgart on drums. This track contains some excellent energy. That’s followed by “Helene,” the only piece on this disc composed by D.B. Shrier. As it begins, it has the feeling of already being in progress. There is a sense of excitement to it, and it gets wild at moments. And there is a bass solo toward the end. This disc then concludes with “Just You Just Me.” These days when I hear this song, I can’t help but think of that wonderful Woody Allen film Everyone Says I Love You. This version quickly takes off into some fun territory.

CD Track List

1. Blue Lights
2. East
3. Raveesh
4. These Foolish Things
5. All Blues
6. Opus #3
7. Indiana
8. Steeplechase
9. Helene
10. Just You Just Me

This special expanded edition of D.B. Shrier Emerges was released on February 24, 2023 through Omnivore Recordings.