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Kellylee Evans: Nina
by C. Michael Bailey
Every once in a while an homage project comes along actually doing what it sets out to do: pay homage. That the object of the present homage is the enigmatic Nina Simone makes Canadian Kellylee Evans' Nina that much more a definitive statement of a courageous cultural career. Add to this that Evans thoughtfully does not ...
Danielle Eva: Road and Moon
by C. Michael Bailey
Danielle Eva emerges a fully formed jazz vocalist on her debut, Road and Moon (Devour Music, 2010). She has assimilated the influences of the finest jazz vocal talent of the last 20 years: Cassandra Wilson, Cheryl Bentyne, Tierney Sutton, Karrin Allyson, and nominally, Norah Jones. Drawing equally from Wilson's organic approach, Allyson's timbre-perfect pitch, and Jones' ...
Natalie John: Unveiled
by C. Michael Bailey
Listening to Natalie John's Unveiled is a jarring, almost alarming experience. It is comparable to a first listen to Tony William's Emergency (Polydor, 1969), or Miles Davis on the verge, with his “Lost Quintet" (Chick Corea, Dave Holland, Jack DeJohnette, and Wayne Shorter), on the recently uncovered It's About That Time (Columbia, 2001). Those recordings presented ...
Art Pepper: Jazz Showcase, Chicago
by C. Michael Bailey
This 1977 Chicago Art Pepper performance was bootlegged in Spain. As it was stolen to begin with, the saxophonist's widow, Laurie Pepper re-purloined it, releasing it on her independent Widow's Taste label. That is the beauty of today's technology. Historically, this show came in the middle of Pepper's East Coast Tour capping the saxophonist's comeback before ...
Chris Bennett: Sail Away: The Tahiti Sessions
by C. Michael Bailey
Vocalist Christ Bennett publishes her 11th recording, Sail Away: The Tahiti Sessions amid an impressive population of like-minded recordings, and still manages to attract attention. Bennett dons the silk of a jazz singer and composer as easily as she navigated such disparate genre as disco and adult contemporary pop. Sail Away is approximately 50/50 standards and ...
Elton John / Leon Russell: The Union
by C. Michael Bailey
Elton John and Leon Russell are not so unlikely musical colleagues. Russell is slightly the elder, at 68 to John's 63, and within the age difference of two brothers. Both emerged in the early '70s, that fertile period nurtured by Woodstock the year before, and the rise of album-oriented-rock FM radio after. Both are pianists and ...
Brad Goode: Tight Like This
by C. Michael Bailey
Chicago-native trumpeter Brad Goode is steeped in the tradition. His previous Delmark offering, Nature Boy (2008), was very well-received for its conservative yet creative approach toward standards in a quartet format. He returns, delving deeper into jazz styles of the 1920s and '30s, updating them in a wonderfully lo-fi way. Tight Like This celebrates the early ...
Dave Frank: Portrait of New York
by C. Michael Bailey
New York-based Dave Frank is a piano style unto himself. With the most solid left hand playing jazz piano, Frank delights in composing and improvising the most devilish bass lines, defying Einstein's rule governing space and time. Frank's last recording, Ballads and Burners (Jazz Heads, 2007), amply demonstrated why Frank has a Jazz School named for ...
Robert Plant: Band of Joy
by C. Michael Bailey
Classic rock music from the mid-1960s to the mid-'70s produced three great voices: Rod Stewart, Roger Daltrey, and Robert Plant. Of these, the most incendiary was Plant. Never in the voice of a white man was there ever so much raw sexual power than that voice that sang “Babe, I'm Gonna Leave You," “Whole Lotta Love," ...
Lisa Maxwell: Return to Jazz Standards
by C. Michael Bailey
Singing jazz standards will never go out of style; the songbook is too fertile, the audience too willing, and the erstwhile jazz vocalists (at least women) too plentiful. The result is a market clotted with a legion of releases where the signal-to-noise ratio is not favorable for the independent artists. But some worthy examples do rise ...
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