CD REVIEWS FROM THE APRIL 2010 ISSUE OF THE LOS ANGELES JAZZ SCENE
Big Bad Voodoo Daddy
How Big Can You Get?
(Vanguard)
Big Bad Voodoo Daddy was one of the most exciting of the groups to emerge during the Retro Swing movement of
the 1990s, and it is one of the few survivors. On How Big Can You Get, instead of the band performing originals,
they pay tribute to one of the true greats, Cab Calloway.
While “Minnie The Moocher” and “The Jumpin' Jive” are naturally here (both are given fresh interpretations), such
lesser known numbers as “The Call Of The Jitterbug,” “Tarzan Of Harlem” and “Come On With the 'Come On'” are
also given lively treatments. The group, which is a septet with Scotty Moran on vocals and guitar along with such
fine soloists as trumpeter Glen Marhevka, Karl Hunter on tenor and alto, and pianist Joshua Levy, is augmented
by 12 different musicians at various spots throughout the CD. Unfortunately the packaging does not list their
instruments or tell who is soloing where, the only fault to this hard swinging set.
The band really romps on “Calloway Boogie” and “Reefer Man” while Scotty Moran gets to put plenty of feeling
into “The Old Man Of The Mountain” and “The Ghost Of Smokey Joe.” The spirit of Cab Calloway, swing, and
Illinois Jacquet-type early r&b is felt throughout each selection and there is not a slow or dull moment to be heard.
Can You Get, which is a constant joy, is highly recommended and available from vanguardrecords.com.
Ithamara Koorax
Bim Bom
(Motema)
Trisha O'Brien
Out Of A Dream
(Azica)
Rose Colella Trio
Small Hours
(Lola Bard)
Tina May
I Never Told You
(33 Records)
Anna Estrada
Obsesion
(Feral Flight Productions)
There is no shortage of female jazz singers, but even more impressive than the quantity is the high quality of many
of the vocalists. Perhaps it is their awareness of the competition but, even as they try digging through the archives
to find songs that have not been recorded 100 times already this year, many of the singers have managed to find
a voice of their own.
Ithamara Koorax is a Brazilian singer who has recorded everything from jazz standards to fusion romps. Bim Bom
is a particularly inspired project for it is accurately subtitled “The Complete Joao Gilberto Songbook.” Gilberto is
renowned as a highly influential bossa nova singer and guitarist, but he has written relatively few songs in his life.
In fact, they number just 11 including two (“Bim Bom” and “Ho-Ba-La-La”) that he recorded in 1959 for what is
considered the first-ever bossa nova album, Bim Bom. Ms. Koorax displays a beautiful voice on her CD,
accompanied only by the brilliant guitarist Juarez Moreira. Other than “Bim Bom,” most of the other tunes are
relatively unfamiliar but they generally have beautiful melodies and are perfect outlets for Ithamara Koorax's voice.
Her singing is in spots reminiscent of Gilberto, she sounds comfortable holding on to notes and leaving space, and
she always has a strong jazz feeling. Moreira, who is featured on the instrumental “An Embrace To Bonfa,” seems
able to anticipate her every move and listeners will never miss the bass or drums. The duo does justice to this
music during this winning effort, which is highly recommended and available from www.motema.com.
Trisha O'Brien is in excellent form throughout Out Of A Dream. Joined by pianist Shelly Berg, bassist Peter
Washington, drummer Lewis Nash and (on three selections) tenor-saxophonist Ken Peplowski, Ms. O'Brien
displays beautiful long tones, a real understanding of the lyrics she sings, and a subtle but solid sense of swing.
Her medley of “I Had The Craziest Dream” and “You Stepped Out Of A Dream” is inspired (as is Berg's
impressionistic playing), she successfully revives both the Nat King Cole hit “Darling, Il Vous Aime Beaucoup” and
the dixieland standard “Everybody Loves My Baby,” (taken a little slower than usual), and comes up with fresh
statements on a variety of lightly swinging tunes. Everything works on this CD, available from www.trishaobrien.
com.
Rose Colella's voice is very much exposed throughout Small Hours for she is accompanied by just the tasteful
guitarist Dan Effland and bassist Joe Policastro. But there is no reason to worry for she has a relaxed and
thoughtful style (even on medium tempo tunes), sings perfectly in tune, and displays a quietly appealing voice.
She also knows how to use space well as she shows throughout ten standards and Blossom Dearie's “Blossom's
Blues.” Whether it is “After You've Gone,” “Come Fly With Me,” “Never Will I Marry” or “You Do Something To Me,”
Rose Colella delivers a sincere and very musical message, paying tribute to the lyrics and the melody while putting
a bit of her confident calmness into the music. This fine outing is available from wwww.rosecolellatrio.com.
Tina May has long been one of the top jazz singers in Great Britain. She has the ability to take a well known song,
make a few subtle changes, and have it sound like a new composition. As with Rose Colella and Trisha O'Brien,
she has very good taste in songs. On I Never Told You she performs such numbers as Dave Brubeck's “In Your
Own Sweet Way” (which is not sung very often), Horace Silver's “Peace,” “Lucky To Be Me” and the Johnny
Mandel title cut with confidence and ease. She is a superior scat-singer, but even when she sings a song fairly
straight, her phrasing and enthusiasm make the number into a special event. Joined by pianist Nikki Iles, bassist
Phil Donkin, drummer Stephen Keogh and tenor-saxophonist Karen Sharp, Tina May shows that she is a singer
who should be much better known in the United States. I Never Told You, available from www.33jazz.com, gives
listeners a strong sampling of her musical talents.
Anna Estrada was originally a stage actress in the San Francisco Bay area when, in 2002, she decided to focus
instead on singing. On Obsesion she sings a variety of love songs in Portuguese and English, ranging from
“Nature Boy” and Burt Bacharach's “Always Something There To Remind Me” to a Mexican folk song and a few
Brazilian classics. Joined by guitarist Ray Scott, a rhythm section and several guests, she varies tempos and
moods while sounding consistently infectious and musical. It looks like her career change was a very good move.
Obsesion is available from www.annaestrada.com.
Dee Dee Bridgewater
Eleanora Fagan
(Emarcy)
Dee Dee Bridgewater has long been one of the top singers in jazz. During 1986-87, she appeared successfully in
the one-woman show Lady Day in Paris and London. For this recent recorded tribute to Billie Holiday, Ms.
Bridgewater purposely did not try to sound like Holiday, and she utilizes more modern arrangements.
With a group that includes the talented pianist Edsel Gomez, bassist Christian McBride, drummer Lewis Nash and
James Carter on reeds, this should have been a classic date. There are some bright moments heard along the
way but in general Dee Dee Bridgewater does not make any of the dozen standards her own. While she does not
copy Lady Day, her singing often borders on being over-the-top, with an excess of exaggerated feeling on some
numbers. James Carter, in contrast, is overly restrained during his short spots. It would have helped if he had
chosen to match or even surpass Bridgewater's intensity rather than being a supportive sideman.
But the main problem is not necessarily in the interpretations. It is that when Dee Dee Bridgewater sings songs
such as “All Of Me,” “Good Morning Heartache,” “Fine And Mellow” and “A Foggy Day” (which makes one
remember Dinah Washington's superior recording), her versions do not match the power of earlier recordings.
Nothing new is added to these songs, making Eleanora Fagan fall far short of Dee Dee Bridgewater's earlier
tributes to Ella Fitzgerald and Horace Silver.
Komeda Project
Requiem
(WM Records)
Krzysztof Trzcinski, who was known as Komeda, was a major Polish film composer who was also a jazz pianist.
While best known for his scores to several Roman Polanski films, he was also one of the first Polish modern jazz
players and an influential force in his homeland. He died after an accident in 1969 when he was four days short of
his 38th birthday.
Komeda has not been forgotten and his music is saluted on Requiem. A quintet formed by two Polish players
(Krzysztof Medyna on tenor and soprano and pianist Andrzej Winnicki) and featuring three Americans (cornetist
Russ Johnson, bassist Scott Colley and drummer Nasheet Waits) explores the three-part “Night-time, Daytime
Requiem,” four of Komeda's other pieces, and two songs by Winnicki.
The music, not too surprisingly, is often cinematic (even when the selections are drawn from Komeda's jazz works),
episodic and dramatic. Each of the musicians makes strong contributions with saxophonist Medyna often taking
solo honors. The performances are modern, there is nothing dated about these compositions, and the music is
both dark and largely enjoyable.
This CD, available from www.komedaproject.com, is easily recommended.
Peter Douskalis
The Dance Of The Sea
(Shenandoah)
Guitarist Peter Douskalis, a recent graduate of the Conservatory of Shenandoah University, teaches at the New
York City Guitar School, and is working on a graduate degree at New York University. He has an attractive tone on
the guitar and an orchestral style that was heard on his recording debut, Midnight Madrid, as part of the Peter and
Alex Guitar Duo.
On The Dance Of The Sea, Douskalis is heard as an unaccompanied soloist. His playing is closer to Joe Pass
than to Stanley Jordan (there is no tapping here), as can be heard on “Lady Bird” and “Whisper Not.” However
Douskalis also stretches himself to perform his own title track, “My Favorite Things” and the Beatles' “Come
Together.” While he is a melodic player, Douskalis sometimes emulates an orchestra and pulls it off. Melody,
harmony, bass lines all interact logically, sometimes making it sound as if more than one guitarist is on the CD.
An excellent early effort, The Dance Of The Sea succeeds both as superior background music and for close
listening. It is available from www.peterdouskalis.com.
Sam Most
Solo Flute
(Liquid Jazz)
Throughout his long career, Sam Most has made his mark as an innovative and pacesetting flutist, a fine cool-
toned tenor-saxophonist and a witty scat-singer. He has appeared on a countless number of sessions since the
late 1940s but Solo Flute is unique. How many 79-year olds would consent to record a full set (14 songs) as
unaccompanied flute solos?
Sam Most just handles the music as if he were playing with a quartet. His time is perfect, he uses space expertly
and, after he states his piece, he closes the song.
Whether it is “Autumn In New York,” “Giant Steps,” “Just Friends,” “Stablemates” or one of his originals, Most is
heard throughout in top form. He never seems to run out of ideas, nor are there any dull or wasted moments.
This unusual and rewarding set, which is one of the highpoints in Sam Most's large discography, is available
digitally from www.liquidjazz.com.
The Desert Cities Jazz Band
Live At Vicky's!
(Vicky's Of Santa Fe)
The Desert Cities Jazz Band, based near Palm Springs, iis led by veteran drummer Allen Goodman. Their music
ranges from heated dixieland to mainstream swing, with a few boppish lines occasionally performed. The band has
plenty of spirit, excellent soloists in trumpeter Stan Watkins, trombonist Kent McGarity, Don Shelton on clarinet,
alto, tenor and soprano, and pianist Bob Corwin, and a joyous group sound. Hal Linden, famous for his role in the
television series Barney Miller, sits in with the band on several selections on clarinet and sounds excellent, holding
his own with the others. Debby Boone also makes a couple of guest appearances as a singer.
The music is quite fun. Highlights include “Hindustan,” “Moonglow,” “Blues In The Closet” and “Blues Walk.” While
the performances sometimes sound like a jam session, the music is always quite coherent. The Desert City Jazz
Band has been together four years and they sound like they are having quite a bit of fun. Listeners will too, and
are advised to acquire this disc, which is available from www.desertcitiesjazzband.com.
Cole Broderick
A Solo Piano Tribute to The Beatles, Vol. 1
(CBR)
Like many of today's jazz musicians, Cole Broderick spent part of his childhood as a Beatles fan. Once he became
deeply involved in playing piano, Broderick became classically trained and developed his own voice as a jazz
player, but he still retained a love for the Beatles melodies.
Now on this CD, Cole Broderick begins a four-part series, performing Beatles songs as solo piano pieces. His style
on the project is a bit reminiscent of blues and boogie-woogie pianists of the 1930s, along with hints of swing and
bop stylists. It is as if John Lennon and Paul McCartney wrote their songs during the Depression where they were
discovered by a Chicago blues pianist. The melodies are treated well, jazz harmonies are given to the songs, and
the renditions are often quite bluesy.
Beatles fans and those who long ago wrote off their music will both equally enjoy this offbeat disc. Highlights
include “Come Together,” “Can't Buy Me Love,” “All My Loving,” “Eleanor Rigby”and “Penny Lane.” It is
recommended and available from www.colebroderick.com.
Caravan Gypsy Swing Ensemble
An Evening At The Brink Lounge
(Hot String Swing)
During the past 20 years, the music and style of Django Reinhardt has made a comeback. Called “gypsy swing,”
the music of the Quintet of the Hot Club of France (three acoustic guitars including Reinhardt, violinist Stephane
Grappelli and a bassist) has been revived, sometimes modernized, and performed in many different ways. The
revival began in Europe but it has also happily spread to the U.S., with many cities now having their own “hot club”
groups.
The Caravan Gypsy Swing Ensemble is based in Madison, Wisconsin. Consisting of Chris Ruppenthal and Ed Fila
on acoustic guitars, clarinetist Greg Smith, and bassist Kevin Tipple, the band is heard on this live CD, their debut
recording, in spirited form. The arrangements were put together by the two guitarists with Ruppenthal, who I
assume is the main soloist, writing the majority. The group romps through such numbers as “Bye Bye Blues,” “Tea
For Two,” “Bei Mir Bist Du Schon,” “and “Bernie's Tune” while putting plenty of feeling into “September Song.” The
ensembles are tight, there are many fine guitar and clarinet solos that fit perfectly in the tradition without being
mere recreations, and the spirit of Django Reinhardt is brought back to life.
This fine set is recommended and available from www.gypsyswing.com.
Betty Bryant
No Regrets
(Bry-Mar Music)
Lissy Walker
Life Is Sweet
(Strawberry Canyon)
Lisa Engelken
Caravan
(Little Angel Records)
Three fine jazz singers, each of whom deserves to be much better known, are reviewed in this article.
No Regrets is a delight from start to finish. Betty Bryant, as a singer and pianist, is a throwback to the 1940s,
performing in an idiom popularized by Hadda Brooks. Ms. Bryant's vocal delivery is straightforward, quiet, swinging
and expertly makes use of every note and silence. Her piano playing is similar, saying what is necessary and
tasteful while frequently sounding joyful. With fine playing by tenor-saxophonist Robert Kyle, bassist Tomas
Gargano and drummer Kenny Elliott, Betty Bryant (who performs regularly in the Los Angeles area) is in
particularly charming form on “Let Me Love You,” “Easy Street,” “Be Anything, But Darling Be Mine” and “Early In
The Mornin'.” Highly recommended and available from www. bettybryant.com.
Lissy Walker has diverse musical interests. On Life Is Sweet, she alternates between quietly emotional versions of
jazz standards (including “I Remember You,” “How Deep Is The Ocean,” “More Than You Know” and a very
effective version of “In The Wee Small Hours”), and four songs given treatments that fall more into the country/folk
area. A rhythm section headed by pianist John R. Burr and a variety of guest players add variety to the
ensembles. Lissy Walker excels on each of the pieces but Life Is Sweet will be most enjoyed by listeners with
eclectic taste; it is available from www.lissywalker.com.
Lisa Engelken includes a Joni Mitchell song (“Winter Moon”) on her CD but there is never any doubt that jazz is
her main musical love. Whether it is her inventive scatting on “Well Be Together Again” (which follows a heartfelt
introduction), a strutting “Just One Of Those Things” (which sometimes utilizes marching band rhythms), her lyrics
to Freddie Hubbard's “Red Clay” (retitled “From The Earth”), or a haunting “Detour Ahead,” it is obvious that she
is already a major jazz singer. Born and raised in Kansas, Lisa Engelken had spent time on the East Coast and
the South before settling in San Francisco. She has worked in theater and with rock groups but has a natural feel
for jazz, both in the flexible sound of her voice and her constant creativity. To her credit, she does not sound like
any of her predecessors even though she has obviously learned from those who came before her. In addition, she
is responsible for the colorful arrangements played by her currently obscure but talented musicians which include
a few horn players. Fans of jazz singing who enjoy unpredictable versions of standards will want Caravan,
available from www.lisaengelken.com.
Luciano Troja
At Home With Zindars
(Luciano Troja)
Earl Zindars, who passed away in 2005, was the percussionist with the Chicago Symphony Orchestra in 1957
when his friend Bill Evans convinced him to move to New York. He composed classical works, later taught for six
years at San Francisco State University, and wrote songs that Bill Evans added to his repertoire. It is for the
connection with Evans that Zindars will be most remembered.
Italian jazz pianist Luciano Troja did a great deal of studying before recording this project. He performs 14 of
Zindars songs (including two versions of “Sareen Jurer”) plus his own “Earl And Bill.” Most of the compositions are
lesser known and rarely performed although “How My Heart Sings” has achieved a bit of fame.
Throughout this solo recital, Luciano Troja often hints strongly at Bill Evans, partly one suspects due to the natural
influence but also because Zindars' songs perfectly fit Evans style. The songs are primarily harmonically
sophisticated ballads that Troja beautifully revives and most are bringing out of obscurity. Today's jazz musicians
looking for a fresher repertoire would be well advised to check out these songs.
An added bonus is a definitive 44-page booklet which makes At Home With Zindars a perfect tribute to Earl
Zindars. It is available from www.lucianotroja.com.
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