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Discorama
THE SCAMPS
Timeless
By Butch Berman
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K.C. group and its
music are Timeless
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By Butch Berman
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THE SCAMPS
Timeless
Music For Marillac Productions
If the Scamps had been able to
release their newest CD, Timeless, when it was recorded
nearly 20 years, the title might have been different.
However, the listening audience's
reaction would have been the same, and that would be, This
shit is great, man! Timeless might have been the original
title, cuz it certainly fits these multitalented cats'
resumes.
These K.C. stalwarts formed
around leader-singer Earl Robinson in the mid-40s and
still rock steady for their longtime fans to this day,
putting their unique, jazzy stamp on the material, well-chosen
and crafted arrangements of our American standards, telling
their tales of love found, love lost, and life in general,
interwoven by that swinging, bluesy Scamps signature
sound.
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Now, thanks to K.C.'s purveyor
of the arts, Steve Irwin, and his association with
Marillac Center for Children, a wonderful nonprofit
health-care center, Timeless is finally available for us
all, with the proceeds going to Marillac, while the CD,
like a revered, treasured book, will live forever.
Hey, good cause or not, on its
own merit this gem cooks and warms your heart at
the same time. It's a must for any music lover who digs
Nat 'King' Cole, the Mills Brothers, da blues or good ole
rock 'n' roll. Timeless covers all bases for all ages.
If you can make it to Missouri
some day, catch Lucky Wesley, Art Jackson, Rusty
Tucker, Earl Robinson and Rudy Massengale (original pianist
Cootie Dye passed in the late '70s) in some joint or another.
You can't visit Kansas City without tasting the famed barbecue
and soakin' up that Scamps experience. Nearly 400 years
of combined musical magic can't go wrong.
To buy the CD, call Marillac
Center at (816) 508-3311 or order it through their
website at
http://www.marillac.org
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Discorama
SHEILA JORDAN AND CAMERON BROWN
I've Grown Accustomed to the Bass
By Butch Berman
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SHEILA JORDAN AND CAMERON
BROWN
I've Grown Accustomed to the Bass
HighNote Records
When I booked the George Cables
Trio for Lincoln's annual Jazz in June this year,
they were a resounding success.
I never guessed it was going to
be a double jackpot-besides the well-credentialed
George Cables and Victor Lewis, I got to meet bassist
Cameron Brown.
From the Betty Carter "school"
to great moments with Don Pullen and George Adams,
among others, Cameron is a major player. Then, when
he handed me his latest release with renowned vocalist
Sheila Jordan, I was impressed.
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Sheila Jordan's recording career
showcases great work with former bass partner
Harvie S, stints with Steve Kuhn's quartet and her memorable
duos with Mark Murphy. This CD, recorded live in Belgium
about five years ago, was her first duo gig with a bass,
but what a treat. Thus, a musical marriage made in jazz
heaven.
You're only hearing two voices,
but it might as well be a symphony, as they tease
and probe and edge each other to sheer magic. I was
so entertained by their brilliant effort that I'm now attempting
to negotiate a gig with them early next year.
Their chops were way up that
super night, even if you only dig full jazz ensembles.
These two express total virtuosity in their jazz improvisations.
If you truly love jazz for what it stands for, you must
add this to your collection.
"Dat Dere," Irene Kral's famed
chestnut, "Better Than Anything," as well as their
incredible ability to stretch out on "Sheila's Blues"
got me off the most. There are no throwaway tracks on this
clever, sparkling and honest work. Bravo!
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Jazz on Disc
Nancy Marshall
Nancy Marshall Sings
By Tom Ineck
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Nancy Marshall releases
new CD
of familiar tunes
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By Tom Ineck
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Nancy Marshall Sings
Lincoln singer Nancy Marshall
performs in a variety of settings around town, including
her work with the a cappella vocal trio Baby Need Shoes.
Most frequently, however, you can catch her during Sunday
evening appearances with guitarist Steve Hanson at The
Oven restaurant.
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Nancy Marshall Sings is a
new collection of 11 familiar standards performed
in the intimate style of those Oven gigs.
Hanson produced the CD and
appears on seven tracks, including the Marshall favorites
"Makin' Whoopee," "Save the Bones for Henry Jones," "Fine
and Mellow" and "Frim Fram Sauce". Lincoln pianist Tom
Larson sits in on three selections, contributing solo piano
work on "Blame it On My Youth" and "My Romance."
Most impressive is the duo of
guitarist Gene Bertoncini and bassist Rusty White
accompanying Marshall on two seasonal tunes, "Spring Can
Really Hang You Up the Most "and "You Must Believe in Spring."
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Jazz on Disc
GREG ABATE
Evolution
By Tom Ineck
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Abate refines the
hard-bop evolution.
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By Tom Ineck
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Evolution
1201 Music Inc.
With Evolution, multi-reed
virtuoso Greg Abate breaks the hard-bop mold by performing
an entire set of his own compositions, without reference
to the familiar standards that most jazz musicians rely
on for audience awareness.
That's a bold move for Abate,
but it works simply on the strength of his writing
and arranging and on the musicianship and compatibility
of his colleagues-pianist James Williams, bassist Harvie
S and drummer Billy Hart. This quartet is seamless.
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From the opening title track,
the Abate fan is in familiar territory, a hard-bop
anthem that builds with extraordinary intensity, mainly
due to the lead alto and overdubbed tenor sax charging
side-by-side. "Dreaming in Color" is a lovely waltz inspired
by a dream Abate had of a walk in Manhattan on a sunny,
snowy day.
Abate doubles the horns again on
"Kerryís Bossa," with the soprano sax soaring
in the lead voice. Like so many artists, Abate was deeply
moved by the events of Sept. 11. For all those who lost
their lives in the violent events of that fateful day,
and for his recently deceased parents, he penned "Dearly
Departed (September 11)," a tune of inner strength and
resolve.
The flute blends playfully in an
overdub with the lead alto on "Angelic," written
for Abate's daughter, Jessica. The alto saxophonist
returns to hard bop with a vengeance on "Living the-Dash."
The whole band swings soulfully on "K.T. Blues."
Abate's confident playing and
strong writing make Evolution a significant entry
in the continuing evolution of hard-bop.
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Jazz on Disc
CHARLES GATSCHET
Reflections
By Tom Ineck
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CHARLES GATSCHET
Reflections
Barnstorm Productions
Guitarist Charles Gatschet has
that rare ability to compose and arrange tunes with
the whole sound in mind.
Certainly, his instrument is an
important component in the mix, but the overall
effect has more to do with group voicings and colors than
with solo excursions.
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Because their contributions are
so essential to the success of Reflections, let's
start by recognizing the sidemen, all with long histories
on the Kansas City jazz scene: Danny Embrey, guitar; Bob
Bowman, bass; Joe Cartwright, piano; Todd Strait, drums;
Steve Dekker, trombone; Kim Park, flute; and Gary Helm,
serdu drum. They blend seamlessly on "Little Smiles," "Debra
Lee" and "Las Sombras."
All 11 compositions are Gatschet
originals. They tend to be breezy, relaxing, take-your-time
tunes that invite repeated listening, especially on a lazy
afternoon or an early evening, that time for reflection.
"Chumba Dues," however, is a mid-tempo blues and
"Contradiction" is an uptempo bopper. Gatschet also
takes the vocal on "Sorrisinhos."
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World Music on Disc
ANTIBALAS
By Carter Van Pelt
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ANTIBALAS
Afrobeat group's CD
shows Fela influence
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By Carter Van Pelt
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If you're not familiar with the work and legacy of
the late Nigerian icon Fela Anikulapo-Kuti and his
Afrika 70 ensemble, the music of Antibalas might
come across as an Africanized combination of Santana
and James Brown.
Antibalas' primary inspiration
is Fela, and the group rightly considers itself an
afrobeat orchestra. Afrobeat was Fela's neo-African
invention that combined dense West African polyrhythms,
Afro-Latin jazz, American funk and black power politics.
Antibalas' second studio album,
Talkatif, was released in March, and the first
question to be answered was whether the group's identity
would develop from its afrobeat revival debut, Liberation
Afrobeat.
Talkatif substantiates the
argument that Antibalas can embrace Fela as a primary
inspiration without pandering to nostalgia. Yeah, there's
a little harmless pandering to Fela here and there (the
deliberately rough-edged squawks on the sax that Fela loved),
but to characterize Antibalas as strictly derivative would
be patently ignorant, considering the group's
sizable body of original compositions.
Talkatif begins with the
beautifully concise and relatively mellow opening statement
of "Gabe's New Joint," which makes an appropriate introduction
with the horns sounding the group's confident arrival.
The title track follows and wastes no time before unleashing
with all the tornadic bombast of Afrika 70. "Talkatif"
and "Nyash" show that Antibalas has mastered the
relentless type of groove that Fela orchestrated in
pieces like "Opposite People" and "Zombie" but with
a more precise, tighter horn section.
Both of these tracks showcase
keyboardist Victor Axelrod's skills as a soloist,
revealing a strong Fela influence. Both also feature vocals
by Nigerian-born percussionist/singer Duke Amayo-the album's
other five tracks are instrumentals.
A brilliant middle section
highlights Talkatif, beginning with the deftly percussive
"Hypocrite." The initial measures feature an intricate,
tasty rhythm by drummer Phil Ballman, and then the attention
turns to trumpeter Jordan McClean, who masters the central
solo with every bit the finesse of Afrika 70's Tunde
Williams.
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"World Without Fear" and the
utterly brilliant "War Is A Crime" follow, making a
case as to this album's superlative status. The latter
track exposes two more keys to Antibalas' identity: Del
Stribling's brilliant, octave-hopping bass lines and Victor
"Ticklah" Axelrod's clever and distinctive keyboard melodies.
Aaron Johnson's trombone solo on
"War Is a Crime" provides another musical lift. The
arrangement features a conversation between the brass
and woodwinds that is worth repeated listening. The appropriate
use of stereo punctuates the call and response, which climaxes
perfectly. Group co-founder Martin Perna also deserves
credit as co-author of these three tracks, and he takes
some great solos on baritone sax.
Percussionist Phil Ballman, who
plays trap drums behind six of the album's seven
cuts, has in many ways the biggest shoes to fill for
an ostensibly afrobeat ensemble. Tony Allen not only defined
the territory in Fela's Afrika 70, he co-created the afrobeat
style itself. Ballman, and percussionist Dylan Fusillo,
who plays trap drums on "Talkatif," rise to the challenge
in every aspect throughout this release.
Talkatif closes with a curious,
percussion-driven tune called "N.E.S.T.A 75," a
play on the manner in which Fela named his songs (more
harmless pandering), in this case "never ever submit to
authority." The track's only horn part (and only instrumental
component other than bass guitar) is a melancholy Perna
sax solo that takes the album down into the sunset.
In general, the whole album is a
giant step forward for the group in terms of concept
and content-from logical track sequencing to a great album
package. Ghariokwu Lemi's cover art-Lemi did most of Fela's
album covers-expressively depicts the album's contents,
and Pat Hamou's design embraces the group's strong
connection to Brooklyn.
On the whole, Talkatif, when
considered as a complete artistic statement, actually
speeds past a sizable portion of Fela's work. Keeping in
mind that Fela wasn't an album-maker in the traditional
sense-his releases often featured only one or two songs,
which is almost a different paradigm of music presentation.
With Talkatif, Antibalas has put forth a work that,
alongside Femi Kuti's Shoki Shoki and Tony Allen's
Black Voices, is a benchmark not only for the
modern revival of the genre but the whole history of
afrobeat.
At the time of this writing,
Antibalas' fall tour is being arranged and a date
in Lincoln has been tentatively set for Oct. 15. Check
http://www.antibalas.com for details and free music samples.
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Blues on Disc
THE JAMES COTTON BLUES BAND
35th Anniversary Jam
By Rich Hoover
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THE JAMES COTTON BLUES
BAND
35th Anniversary Jam
Telarc Records
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Blues harp legend
parties down on latest release
By Rich Hoover
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There's a party goin' on in
here!!!
A dozen tunes, 10 penned by Mr.
Cotton over the years, pour out for almost an hour.
It's a tribute to the 35 years since James Cotton
left the Muddy Waters band to try to make it on his own,
and he has been playin' and travelin' ever since.
He first came onto the blues
scene in the early 50's thru Memphis. He was a Sam
Phillips (Sun Records) artist when, in 55, he was asked
to take the harmonica seat in Muddy Waters band, he played
with Muddy for 10 years.
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In 66 he signed with Buddha
records and formed the James Cotton Band and he has
been a top-tier player ever since.
This CD is jam-packed with guest
artists playing and showing their appreciation for
the impact Mr. Cotton has had on them and the blues
genre. The regular band members include Mike Williams,
guitar; Dave Maxwell, piano; Noel Neal, bass; and Per Hansen,
drums.
The guest list includes Kenny
Neal, Koko Taylor, Bobby Rush, Shemekia Copeland,
Syl Johnson, Maria Muldaur, and Ronnie Hawkins on vocals;
Lucky Peterson and Kim Wilson on vocals and guitars; and
Jimmie Vaughan, Tab Benoit, G.E. Smith and Derek O'Brien
on guitars.
If you can't tell how much fun
this CD might be, think again. It'll come to ya.
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Blues on Disc
The Volker Strifler Band
By Rich Hoover
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THE VOLKER STRIFLER BAND
The Volker Strifler
Band
Bluerockit Records
Bluesy, jazzy sounds surrounding
smooth contemporary lyrics are what Volker Strifler
is offering as he steps up to the front lines of
the blues. The trio includes Claus Bubik on bass and vocal
on one tune and Stefan Bollack on drums.
Special guests include a nice B3
organ sound from Tony Lufrano, David Shrader on sax
and Garth Webber, percussion.
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A native of Germany, Volker got
into the blues and guitar as a child. His interest
and abilities got him to the United States, where he
settled in northern California under the tutelage of Lowell
Fulson, Robben Ford and Chris Cain.
Volker has played, recorded and
toured with Robben Ford and the Ford Blues Band,
Chris Cain, Michael Osborn, and is the front guest artist
with Bluezone on their Full Moon CD.
Volker tastefully penned 11 of
the 13 tunes here. Some come from the agony, others
from the love of the blues, some are tough and raw,
others syrupy sweet. The guy's got talent and is a pleasure
to hear. I want to see his show as soon as possible.
For more information visit
http://www.bluerockit.com
or
http://www.volkerstrifler.com
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