Guitarist Charlie Apicella and his band mates mix it up nicely with these originals and jazz standards, disavowing a rough-hewn presence and sporting a piquant mode of execution. The artists morph a somewhat traditional blue collar approach to the classic organ-combo into a contemporized product. The band may not 't reinvent the genre, but the diverse and largely up-tempo track mix rounds out a balanced approach, spanning blues, funk, Latin and swing.
One of the album highlights is tenor sax titan Sonny Stitt's "Blue String," where the soloists ride atop drummer Alan Korzin's thrusting backbeat, as organist Dave Mattock comps the rhythm and provides a launching pad for the sequential frontline solo spots.
Supported by whispery sax parts, fluid organ voicings and subtle theme variations, Apicella conveys maturity amid a deep-rooted understanding of this format via brisk runs, linear developments, spirited accents, and groove-oriented jazz lines. Ultimately, the guitarist mans a course that should whet the appetites of a heterogeneous jazz-centric fan-base, enamored with nicely selected inferences to outlying genres.
Track Listing: The Business; 64 Cadillac; Donny Brook; Ironicity; Can't Help Falling In
Love; Cantaloupe Woman; Blue String; The Shaw Shuffle; Stanley's Time.
Personnel: Charlie Apicella: guitar; Dave Matlock: organ; Alan Korzin: drums; Stephen
Riley: tenor saxophone; Mayra Casales: congas, percussion.
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.