Jon Cleary: So Swell

Imagine the joy of discovering a new album from Jon Cleary recorded in 2020, featuring Johnny Vidacovich and James Singleton together and occasionally accompanied by James Rivers on sax. Part of the Newvelle Records project involved producing an actual vinyl record titled The New Orleans Collection though it escaped notice from a casual listening audience with access only to segments of the sessions on YouTube.

With ample advance notice with full charts provided by Cleary for this epic recording session, the rhythm section was well prepared, providing a tastefully engaging back beat for his trademark keyboard work. "Swanee River Boogie" sets the tone for what follows with an energetic drum intro closely followed by Cleary banging out a characteristic New Orleans boogie beat, sure to inspire foot tapping in expectation of more. Vidacovich, revisiting his roots, could probably roll out of bed and play as he does on this cut.

Cleary does not have to reach far to satisfy those listening to the lyrics of these new songs. "Two Wrongs" explores a familiar theme with a classic blues structure featuring Rivers' sax playing off Cleary's keyboard skills as Vidacovich inherently understands what it is to perform behind a blues/r&b ensemble. Cleary calls it "pretty music" in the next cut, and he's not wrong, while singing but "old folks call it the blues!" "Just Because" was released as video by Newvelle Records with the b&w footage recalling the early roots of American music, as does the bluesy orchestral arrangement. "So Swell When You're Well" is another upbeat song, featuring Cleary's piano licks weaving in and out of Singleton's stylistic bass lines, an always-pleasing combination.

"Second Line on Monday" sounds like a gospel anthem with Cleary singing "Over in the Glory Land, I want to meet the Holy Man," tastefully accented by Rivers' unmistakably bouncy second line swaying sax work and, at one point, Vidacovich's sparse stick work on the drum rims.

"We're No Exception," a somewhat melancholy composition provides an opportunity to appreciate Singleton's distinctive feel for his instrument working in tandem with Cleary's keyboards on this one departure from the upbeat blues feeling throughout the album.

"I Get the Blues When It Rains" revisits an inescapable New Orleans theme though Cleary hardly sounds bummed as he sings, undoubtedly smiling throughout. The partnership between longtime band mates Vidacovich and Singleton creating that definitive syncopated New Orleans sound is perhaps best heard on "Lottie Mo"; it is no wonder Cleary asked them both to join together on this recording session as they have been joined at the hip, seemingly, forever.. Frivolously silly while paying homage to Huey 'Piano' Smith, "Tuberculucas and the Sinus Blues" is simply put fun as Cleary apparently composed this song and plays with no agenda other than revisiting the exuberance of our collective youth. The album concludes with a forlorn song of lost love, showcasing Rivers' sax skills to perfection with Singleton's bass filling in the blanks while Cleary sings of a life without hopes and dreams concluding "I don't have anything, baby."

The cover art says it all too; Jon Cleary has recently offered original artwork for sale on his website, picturing isolated New Orleans street and storefront scenes recalling a past that remains alive, especially in his Bywater neighborhood. The music fits right in with this vision of what New Orleans means—both to him and his band mates. It is an easy listening album featuring the renowned abilities of local stalwarts joining forces to celebrate all there is like about New Orleans music—thanks for the effort, it is much appreciated.

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