Andrea Wolper - Deborah Pearl

Andrea Wolper The Small Hours (VarisOne Jazz 402 4569 3101 2)  *  Parallel Lives (Jazzed Media JM 1054)
Andrea Wolper has a fluid voice, which she uses in an attractive low-key style, drawing subtle nuances from lyrics, and shaping vocal lines into jazz performances. For some years she worked regularly with guitarist Ron Affif and bassist Ken Filiano and the interplay of the three on the first of these CDs makes clear that this is neither singer with band, nor band with singer but a co-operative trio of which every member is an equal part. The extent of Andrea's musicianship is apparent from the fact that she is also responsible for the arrangements and these are exemplary.
The latest of these CDs, released in September 2011, has Wolper and Filiano in collaboration with guitarist Michael Howell, pianist Kris Davis and electronic percussionist Michael TA Thompson. The group explores new possibilities in some standards, including a gorgeous Skylark, touches upon songs from more recent times, among them Joni Mitchell’s Song To A Seagull, and also provides three eloquent examples confirming that in addition to her singing talent, Wolper is an accomplished songwriter. Clearly, this gifted artist has much to offer those who delight in contemporary jazz singing.

For the past quarter-century, my reviews and articles have appeared in Jazz Journal, which can be visited on-line. From there it is possible to subscribe for this exceptional monthly magazine that offers insightful thoughts on jazz today and jazz from long ago.

Deborah Pearl Souvenir Of You (Evening Star ES115)

For many years, Deborah Pearl was a friend of Benny Carter and with his encouragement developed her talent as both singer and songwriter. All these elements come together on this very good 2011 CD, which is subtitled New Lyrics to Benny Carter Classics. Although this is a debut release, it is immediately clear that Pearl is highly accomplished as both singer and lyricist. The words she has written for several of the master jazzman’s compositions bring attractive concepts, reflecting both period and latterday elements. Some of the compositions are instantly familiar, others perhaps less so but these no less admirable for their melodic charm.

On two tracks, Happy Feet (At The Savoy) and Anniversary Dance, the backing to Pearl’s vocal lines has been taken from a concert at Rutger’s by a big band fronted by Carter and featuring his inimitable alto saxophone. On these and all of Carter’s other compositions, which include Doozy, Johnny True, An Elegy In Blue and Souvenir Of You, Pearl helps demonstrate how timeless is Carter’s music and how his admiration for others, such as Johnny Hodges, illuminated his work. With skilful accompaniment from pianist-arranger Lou Forestieri, bassists Chris Colangelo and Kenny Wild, and drummers Dave Karasony and Jimmy Branly, Pearl makes an impressive mark that should appeal to many.  

Zutty Singleton

Drum Face 

Zutty Singleton was a master of his art and after Baby Dodds was the finest of the New Orleans drummers. He played with a springy, joyous beat that ultimately gave him more flexibility than his more stately contemporary.
He was born Arthur James Singleton in Bunkie, Louisiana, on 14 May 1898. His nickname was bestowed upon him while he was still a babe-in-arms: the name indicating the happy countenance that he was to retain for the rest of his life. Playing drums from a very early age, he worked professionally for the first time when he was 17 years old. After serving in the army during World War 1, he worked with numerous bands in New Orleans, including those led by Oscar 'Papa' Celestin, 'Big Eye' Louis Nelson and Luis Russell, before joining the educational hothouse that was Fate Marable's riverboat band. Through the riverboat experience his reputation spread to St. Louis where he played in Charlie Creath's band and married Charlie's sister, the pianist Marge Creath. After a spell back in New Orleans, Zutty's next port of call was Chicago where he was hired by headlining leaders such as Doc Cooke, Dave Peyton and Jimmie Noone before teaming up with Louis Armstrong and Earl Hines. He also played in a trio with Jelly Roll Morton and Barney Bigard. New York beckoned and there he played with another top flight band, that led by Carroll Dickerson. He freelanced extensively in New York throughout the 1930s, playing on numerous recording sessions, including dates with Sidney Bechet, Roy Eldridge and Lionel Hampton.

In the early 1940s, Zutty continued his varied recording career, frequently leading his own band, and also playing behind frontline artists, among whom were such disparate figures as T-Bone Walker and Charlie Parker. He worked in films and on radio; appearing on-screen in Stormy Weather (1943) and New Orleans (1946), and on Orson Welles's radio show. Reportedly, he was deeply distressed when he was not invited to join the all-star band formed to back Armstrong in the mid-40s, but he remained highly active, working with Eddie Condon, Joe Marsala and Wingy Manone, among many. Early in the 1950s, Zutty spent some time in Europe in bands led by Mezz Mezzrow, Bill Coleman, Hot Lips Page and Lillian Armstrong. Once again, several fine recording sessions resulted. During the rest of the 50s and on through the 60s, Zutty worked mostly in New York, which is where he had made his home. During the latter part of this period he made several records on which he was the featured performer, mostly for Fat Cat's Jazz. Towards the end of the 60s, Zutty appeared in the remarkable French documentary film, L'Aventure Du Jazz (1969), playing unaccompanied drum solos (the soundtrack of this film was released on LP).
For all practical purposes, Zutty's career ended following a stroke in 1970. He lived out his life in New York with Marge and was widely admired and regarded as a father figure to the city's jazz community. He died there on 14 July 1975.

The buoyancy Zutty brought to his playing ensured that the session on which he played always swung. His late 20s recordings with Louis Armstrong's Savoy Ballroom small band are among the most important recordings ever made and they remain in print to this day. An early champion of wire brushes and a distinctive user of the sock cymbal, together with other ear-catching effects placed him well ahead of his time as a jazz drummer. The appearance with Charlie Parker was atypical; he happened to be a member of Slim Gaillard's group which backed Bird for what was virtually a one-off appearance. Nevertheless, his flexibility meant that he was able to acquit himself without unsettling either the performance or his reputation.

A gifted soloist, Zutty would sometimes follow the penchant of New Orleans drummers for starting a solo by playing the melodic line of the number before creating rhythmic variations. It is one of several rare skills his generation of drummers possessed, a skill that has sadly fallen into decline. Other solo excursions, such as a memorable unaccompanied ‘Drum Face’ on a Mezzrow date in Paris in 1951, and the Fat Cat's Jazz sessions, including the outstanding album, Zutty And The Clarinet Kings (apparently none of these is as yet on CD) show him to be witty, inventive and always swinging. Like several other drummers of the past, such as Big Sid Catlett and Jo Jones, Zutty offered much to be admired and emulated by later generations of jazz drummers. Unlike them, he seems not to have his champions, which is an unwarranted shame.

Recommended recordings (probably not on CD): Mezz Mezzrow And His Orchestra (Jazz Legacy JL 65); Zutty And The Clarinet Kings (Fat Cat's Jazz FCJ 100)

Ran Blake & Dominique Eade

Ran Blake & Dominique Eade Whirlpool (Jazz Project JP 3002)
Throughout his long career, pianist Ran Blake has always pushed the boundaries, especially as a soloist. Indeed, some of his earlier record dates resulted in material that doubtless caused bewilderment among listeners with less-adventurous minds than his. Through his teaching at the New England Conservatory of Music, where he has been since the late 1960s, Blake has gradually awakened many to his way of thinking about contemporary music. Alongside all of this, Blake has enjoyed highly successful working relationships with singers. Among these, is Dominique Eade, whose presence at NRC was partly prompted by her eagerness to work with Blake. Although Eade’s career is much shorter than the pianist’s, she has gained a comparable reputation for her advanced approach to jazz. She has an engaging ability to prompt listeners to question established approaches to standards and thus to discover, often to the listener's surprise, thoroughly rewarding and hugely enjoyable variations on familiar themes. Here, Blake and Eade demonstrate their love for good music as they explore previously unexplored byways that are often barely hinted at in songs such as My Foolish Heart, Where Are You, The Thrill Is Gone and Dearly Beloved. Even a song from the end of the nineteenth century, After The Ball Is Over, is beautifully recreated; indeed, the duo succeed in turning it into a contemporary jazz classic. This late-2011 release is very well worth hearing.

A reputed broadcaster, bandleader and composer, John Robert Brown was for many years an educator at the Leeds College of Music. Currently, he is Chairman of the Clarinet and Saxophone Society of Great Britain. In addition to articles on jazz artists, John's site includes links to musicians, musical instrument manufacturers, music educators, magazines, authors and administrators.

Shirley Crabbe - Claire Dickson - DIVA

Shirley Crabbe Home (MaiSong Music unnumbered)
Although this is a debut release, Shirley Crabbe is a mature singer, performing a well-selected repertoire in displaying considerable talent. Shirley's late arrival as a recording artists resulted from vocal problems eventually solved through surgery and it is a delight to hear her voice, which is full and rich and used with subtle flair and very good taste. Shirley's accompanists here are pianists Donald Vega and Jim West, bassist John Burr and drummer Alvester Garrett, who make up the core trio. They are joined by guest soloists Brandon Lee, Dave Glasser, Matt Haviland and Houston Person, all of whom contribute significantly to the proceedings. That said, this CD is a showcase for an exceptionally gifted artist who must surely appeal to all who love good jazz singing and can now hear her for the first time.

Claire Dickson Scattin' Doll (Naftule's Dream NDR 102)
This remarkable young singer was the recent winner of Down Beat's award as Best Jazz Vocalist, Junior High School Level, and on this, her first CD, it is clear to see why. Some tracks were recorded when Claire Dickson was aged 12, some at 13, and she is without question a singer to look out for, not just now but for the next several decades. Here, she takes her repertoire from the books of Parker, Ellington and Hampton, a few of the classic pop song composers, and performs everything with enormous confidence. Surely no one coming to this singer blindfolded would think she is so young - okay, so here and there are a few tiny touches that suggest her voice is not yet as strong as it will become, but throughout Claire displays startling maturity of purpose and understanding. Claire's accompanying trio, Michael McLaughlin, Greg Loughman and Eric Rosenthal, support her ably as do guest horns Gary Bohan, Dan Fox and Glenn Dickson on three tracks, but this is a showcase for the singer and one that should have wide appeal as will anything she might do in the future. Surely, this is the birth of a major jazz singing talent.

Definitely the place to go if, like me, you have a thing about singers, is this Jazz Singers' Site where you will find links to dozens of singers; featuring biographies, discographies, venues, comments, thoughts, contact addresses, and more. This is an absolute must for fans of singers.

DIVA TNT - A Tommy Newsome Tribute (Diva Jazz Lightyear 54698-2)
This strikingly good big band has been around now for a dozen years and good as it was to start with, and it was very good indeed, it is even better now. The leader of DIVA is drummer Sherrie Maricle who has been there from the start and although the personnel has undergone some changes over the years it has always been first class. On this outing there are no weak links and very nearly everyone gets a chance to solo. Although it might be invidious to select just a few for special mention, because all are so good, especially notable is the playing of Barbara Loronga, trumpet, Karolina Strassmeyer, alto saxophone, Lisa Parrott, baritone saxophone, Chihiro Yamanaka, piano, and Anat Cohen on both tenor saxophone and clarinet. Special mention must be made of the arrangements; as the album title suggests these are by Tommy Newsome and they are ideal for this band, which in its ensemble playing shifts from fiery to mellow with fluid ease. This is top class big band music played with panache and style and is very warmly recommended.
Five Play What The World Needs Now (Arbors ARCD 19381)
The DIVA Jazz Trio Never Never Land (Arbors ARCD 19393)
Two outstanding small groups drawn from the remarkable musicians gathered together as DIVA under Sherrie Maricle are presented on the second pair of CDs. Five Play is a quintet with Jami Dauber on trumpet, cornet and flügelhorn, Janelle Reichman on tenor saxophone and clarinet, Tomoko Ohno on piano and Noriko Ueda on bass, while just the latter pair join Sherrie on the CD by the trio. The music on both of these CDs is exceptional: sparkling solos, delightful ensemble playing, and throughout there is terrific swing, plain delight in performance and altogether some of the best jazz around today. These are musicians of the highest calibre and any or all of these albums should be high on anyone's shopping list.

Trudy Kerr - Carol Kidd - René Marie

Trudy Kerr My Old Flame (Jazzizit JITCD 0228)  *  Trudy Kerr & Ingrid James Reunion (Jazzizit JITCD 1054)
The first of these CDs is a very well conceived and beautifully executed tribute to Chet Baker, which draws upon the arrangements of the Gerry Mulligan Quartet. Trudy and bass player Geoff Gascoyne have crafted intelligent, melodic and subtly swinging charts that recapture the grace of the originals while simultaneously making their own statements. Trudy's singing voice, ringing and eloquent, is ideally suited to the atmosphere and she further displays her skills with the vocalese lyrics she has written for 'Bernie's Tune' and 'Look For The Silver Lining'. Exemplary accompaniment comes from baritone saxophonist Derek Nash, pianists Phil Pesket and Steve Melling, and drummer Sebastiaan De Krom. Also on hand for two duets with Trudy is veteran Georgie Fame. The second CD presents Trudy with an old friend from her Australian homeland, singer Ingrid James, in a fine selection of standards from the pop and jazz scenes. The two singers blend with subtle ease and once again Geoff is a key factor in supplying the framework for their graceful work.

Carol Kidd & Nigel Clark Tell Me Once Again (Linn AKD 377)
In the long gap since her last recording, Carol Kidd's vocal sound has taken on a subtle maturity that sits very well indeed with her ability to reach the heart and soul of any song she sings. Her recent return to the scene has also brought another change; now, she works in duo with the fine guitarist, Nigel Clark. As Carol's many fans will recall, she always offered a few moments during her concerts when she sang with only guitar accompaniment and the delight this brought to audiences has now been built upon with enormous success. Carol's repertoire here, as always, presents a comfortable mix of mainly standards with a few items of the best of contemporary pop. There is also an original, composed by Nigel to Carol's lyric, 'Tell Me Once Again', and very good it is too. Carol's lovely vocal sound has never been better and is superbly showcased by Nigel's fluent guitar.

René Marie How Can I Keep From Singing? (MaxJazz MXJ 109)  *  Vertigo (MaxJazz MXJ 114)  *  Live At Jazz Standard (MaxJazz MXJ 116)  *  Serene Renegade (MaxJazz MXJ 120)  *  Voice Of My Beautiful Country  (Motéma 233279)

Supremely talented, singer René Marie delivers on How Can I Keep from Singing) a pleasing mix of mainly standards with a few of her own compositions. Her daring combining of 'Dixie' and 'Strange Fruit' on Vertigo borders on the miraculous. Throughout these CDs, René delivers a striking lesson in the art of contemporary jazz singing that is thoroughly grounded in the best of the past. Impressions of her live dates can be gained from the third CD, which was recorded live at a New York club, where she offers a richly varied and always stimulating programme of songs. On the aptly titled Serene Renegade, René gives full rein to her songwriting talent. All but two of the tracks are her original songs and very good they are too.

Only a very tiny percentage of today’s jazz singers measure up to the giants of the past. René Marie is one of this distinguished minority. She always displays her credentials with seemingly effortless flair and poise; it is an inescapable fact that she is an artist to savour and admire. Central to her latest release is the suite, ‘Voice Of My Beautiful Country’ in which familiar songs central to American culture (and history and politics) are arranged by Marie, sometimes moving far from the original melodies, into a telling whole. Pointed though the lyrics of some of her songs might be, they are always melodic and overflow with invention. If you happen to have missed Marie before now, do take this opportunity to join an ever-widening audience. You won’t be sorry.

*****

Spike Robinson
 
(original painting by Bruce Crowther)

Claire Martin - Sandi Russell

Claire Martin A Modern Art (Linn AKD 340)  *  Claire Martin & Richard Rodney Bennett Witchcraft (Linn AKD 359)
Claire Martin has never made an album that was less than excellent and A Modern Art, released late in 2009, somehow manages to improve even upon the extraordinary qualities of those that went before. With an intriguing and exploratory repertoire, she offers witty, wry and thought-provoking songs that are simultaneously entertaining and filled with examples of her subtle skills. She is aided here by a fine backing band that includes Gareth Williams, Phil Robson, Laurence Cottle, James Maddren, Chris Dagley, Mark Nightingale and Nigel Hitchcock. All the compositions are treated with care and respect, the material being delivered with elegant yet deeply-rooted jazz sensibilities. An admirable set that should appeal to all who love superior jazz singing.
On Witchcraft, Claire teams up with classical composer Richard Rodney Bennett in a thoroughly enjoyable set of songs composed by Cy Coleman. Claire and Richard, unlikely musical companions on paper, have performed together for several years, delighting audiences in London and New York (and beyond) with artful explorations into many aspects of popular song. With this set, released in early 2011, they vividly demonstrate how skilled musicians from whatever field can work together with superb results when hearts and minds are in the right place. There is not a weak moment on this CD, whereon Claire and Richard sing some songs separately and others in duet and in all cases provide what must surely prove to be lasting interpretations.

Sandi Russell Incandescent (Freedom Song FSSR 1001)   *   Sweet Thunder (33 Jazz 165)
For several years, Sandi Russell has successfully toured her one-woman show, Render Me My Song, a history of African American women writers in words and music. On Incandescent Sandi is in excellent form. Mature and fluid in her vocal sound and interpretations, she is a commanding presence and with the backing of some fine musicians the result is an impressive experience. The repertoire is a good mix of popular and jazz songs, with one or two lesser known but attractive items. I had the privilege of writing the liner notes for Sandi's CD, Sweet Thunder, on which Sandi delivers outstanding interpretations of many fine songs. The following is a brief extract from my notes:

Sandi is exceptional because she is a mature, worldly woman with ample experience of music and of life. She knows what to sing, how to sing the songs she chooses, and who to have by her side as she does it.

Sandi’s repertoire is exemplary, blending the familiar with the forgotten, the overlooked with the overused (which she recreates in vibrant fashion), and adding in an occasional example of her own lyric-writing skills.

Mature and confident, Sandi’s vocal sound allows her to bring to her material musical and textual undercurrents that make her interpretations more than merely entertaining songs – although they are certainly that. These performances, rich in musical knowledge and lyrical subtexts, are a joy to hear and will linger for a long, long time when the ephemera that abounds today has been forgotten.

Ian Shaw - Carol Sloane - Marlene VerPlanck

Ian Shaw Soho Stories (Milestone MCD 9316 2) * Drawn To All Things (Linn AKD 276)

A strikingly gifted singer, Ian Shaw, applies his wide ranging vocal sound to a delightfully varied selection of songs on the first of these CDs. More than most of his peers in the crowded world of the jazz singer, Ian is an immensely talented musician who just happens to be a singer. The instrumentalists gathered for this session, which was recorded in New York City, include James Pearson , Eric Alexander, Bob Kindred, Lew Soloff and Cedar Walton. Everywhere on this wholly admirable CD the reason for the acclaim Ian garners from fans and fellow musicians is immediately apparent: Class tells.
The second eagerly awaited CD finds Ian in splendid form and vividly demonstrating his lively sense of adventure by drawing his repertoire from songs not usually associated with jazz. The subtitle of this set is The Songs Of Joni Mitchell and Ian declares his admiration for this artist through his fluent exploration of a singer-songwriter of exceptional talent. On this enjoyable set are many moments of sublime singing and it is clear with every song that this is a major singer at the very top of his game. Fans of Ian will need no urging to buy this CD; those who are unfamiliar with his work or who have yet to pay him the attention he deserves paid should take immediate steps to rectify this omission.

Carol Sloane Dearest Duke (Arbors ARCD 19350) * We'll Meet Again (Arbors ARCD 19400)
A 2007 release, Dearest Duke, is dedicated, of course, to Duke Ellington. Unusually, singer Carol Sloane's only partners here are pianist Brad Hatfield and tenor saxophonist/clarinetist Ken Peplowski. Mostly, Carol has selected ballads, but there are a few tracks with the languid bounce that marked so many of Ellington's compositions. Everything is performed with stylish elegance; the instrumental solos, the accompaniment, and Carol's impeccable singing. On We'll Meet Again, Carol's 2009 release, the singer is again joined by Ken Peplowski, the pair being backed with great empathy by Bucky Piazzarelli and Steve LaSpina. The song selection draws upon familiar yet by no means overused items from Carol's lovely repertoire. The quality of singing and instrumental playing is so high that it would be easy to fall into superlatives. And why not? After all, Carol Sloane is one of the very finest singers of the Great American Song Book active today and we should be grateful for sharing the same time and space. Of all the many jazz singers performing today, very few have the enormous talent that Carol displays in everything that she does. Anything that bears her name is an assurance of jazz singing at its very best. She is, in a word, superb.

Marlene VerPlanck Once There Was A Moon (Audiophile ACD 338)  *  One Dream At A Time (Audiophile ACD 340)
Marlene VerPlanck's albums are never less than very good indeed; often they are breathtakingly excellent. For Once There Was A Moon, Marlene is accompanied by the trio of Tedd Firth, Steve LaSpina and Richard DeRosa. Also present are the imaginative treatments Marlene’s lat husband, Billy VerPlanck, brought to his concepts for the songs. And, as always, these songs are exceptionally well-chosen, if seldom heard gems from some of the classical composers of American popular music. Most recent is One Dream At A Time, released early in 2011. This is the first album from Marlene since the death of Billy VerPlanck. Nevertheless, his importance in the musical structure of Marlene's world is present throughout. Here again, Marlene has selected her songs with admirable care, interspersing standards with overlooked gems from the past and original material presented here for the first time. Marlene's accompanists include Tedd and Steve, for example, as well as Tomoko Ohno and Ed Vodicka. As for Marlene's singing, the way in which she continues to maintain the bell-like freshness that has always marked her work suggests miracles. Indeed, a newcomer to Marlene VerPlanck's work might well expect her to be a new kid on the block. The difference, though, lies in the assured maturity of her interpretations, which are as close to perfection as it gets.

Bruce Crowther - he's ...

... been here and gone.