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July music reviews

Big Water – The Best of Wellington Blues

Red Rocks Records

Having lived in Wellington since 1981 a slight geographical bias must be declared before I rave about this release. Compiled by long-time Wellington musician and music commentator Nick Bollinger, this release will surprise those who have not happened on the vibrant Wellington blues scene before, and also serves as a timely reminder to some of us to get off our butts and support these outstanding musicians.

The album begins with a swamp tinged (title) track from Darren Watson (of Smokeshop fame during the 1980’s), then to the relative newcomers Cool Disposition in a classic harp laden track, then between a couple of the older masters Rick Bryant and Marg Layton we have the legendary Windy City Strugglers (which includes both Rick Bryant and Bill Lake in the line-up) and Pip Payne with his Petone Bennet big band leader hat.

The Stugglers return with a slippery Sitting on top of the World before the first of two tracks featuring Dave Murphy. On the first track Murphy and Darren Watson get loose in one of the albums standout tracks, a head snapping Kansas City. Marg Layton has another spot as befits her status in the Wellington (NZ ? ) blues scene before an enjoyable swinging stomp from Kayte Edwards and Alan Witham that promises great things to come.

Somewhat unusually some of the best tracks are left for last, indeed the last four must be sampled before you call a verdict on this release. The Stugglers’ Bryant and Lake are in assured form, Cool Disposition return with a must hear track called TeenageLetter, Darren Watson is superb in Crocodile Smile while the best is left for last, a very rare recording of legendary guitarist Dave Murphy. This is blues that demands investigation. Well worth seeking out or try www.redrocksrecords.co.nz. Allan McFarlane

Dee Dee Bridgewater: Live At Yoshi's

Verve

This is one FUN album! I can't think of another album in my collection that has such an air of abandon and joi de vivre. Recorded in April 1998 this shows the amazing talent of Dee Dee Bridgewater to maximum impact. Over the nine tracks you'll see why Dee Dee is often seen as the natural successor to Ella's throne. To my ears she's one of the only singers that has the natural ability to swing effortlessly like Ella, although she adds a heap of Sassies attitude to the mix as well.

The set includes classic tracks such as Undecided, Stairway To The Stars, Cotton Tail, Midnight Sun as well as a great little romp through James Brown's Sex Machine. For a bit of fun though wind the wick up as far you're comfortable and try Slow Boat To China. You'll hear her deep, rich, supple, and down right sexy voice swinging hard through this old chestnut with the band holding absolutely nothing back. If that hasn't convinced you skip to What A Little Moonlight Can Do and listen to the virtuosity of piano, drums, bass while Dee Dee scats as nobody else can in jazz today.

The band needs a separate mention as they are just the perfect accompaniment to Ms Bridgewater. Thierry Eliez on piano and organ is breathtaking (Cherokee - wow), Thomas Bramerie on double bass keeps the music swinging and Ali Jackson on drums is impressive in a most undemonstrable way. I don't know if it's the years she's spent living in France but there's something happening here that I don't often hear from American artists - a freedom, a spirit of fun, an openness to the occasion that simply creates magic.

This album mostly swings hard, but there're a couple of slower tracks in there as well. The only caveat I'll put forward is that if you don't like scat you won't like this. There's a lot of it through the album but as I've said previously, she's as good as it gets today. Other than that I'll give this my highest recommendation. Hang, I haven't even mentioned the 14 minute, somewhat naughty version of Love For Sale. You'll just have to find out about that one for yourself. Craig Fenemor

Benny Carter Quartet – Sax A La Carter

Capitol Jazz/Blue Note

One for the devotees? Indeed: Benny Carter had already been a professional musician for 35 years when he recorded this album in 1960, and the interpretations of 15 three (or so) minute standards bear ample testament to his craftsmanship with the alto saxophone. He floats and weaves his way through the melody lines, dips in for a little improvisation, makes room for piano or occasionally bass, then signs fluently off. ‘Mellifluous’ would probably be the most apt adjective to describe his work here: honeyed tones, always adeptly phrased (original liner notes refer to the man’s “palatable manner”) – and yet, at times, seemingly bordering on the glib.

Perhaps it’s because he imposes too tight a limit on the improvised passages, not allowing himself any real expansive stepping out time…though, interestingly, the venerable Jimmy Rowles consistently manages to speak volumes with the piano keys in his brief stints in the spotlight. Or perhaps Carter prevails just a shade too often, with an instrument that cannot always be persuaded to match the emotional range of its tenor counterpart – particularly in this quartet context. Devotees will be reluctant to accept such criticism. For the more eclectically-minded, however, there may well be other gems on the shelves ahead of this. Paul Green

Amber Claire: Love and Such

Epic

The onset of New Zealand Music Month was a good excuse to sample a local artist. Amber from Wanganui, is about as local as you can get. She is easy on the eye, and this makes for an attractive CD cover. Her single version of At Seventeen is beautifully sung but done to a tinny background of an 80s drum machine and synthesized bass. Even the more original track Here it comes again done with Martin Winch is equally homogenized. This is all a great shame as the girl can sing. Her voice is sweet and clear with moments of pure Enya.

It is a shame that so much of New Zealand music is overly processed. For a country that is simple, natural and clean, we seem to have trouble carrying these qualities into our music production. Let’s hope that there is a sequel album with a more innovative approach. As they say in the world of music, the middle of the road is paved with good intentions. Claire deserves better than this. John Groom

Deborah Coleman: What about love?

Telarc Blues

I have learnt to be suspicious of debut recordings from female artists that include a deep cleavage shot on the CD cover. This is such a case. A second test for me is how the recording stands up when played through an iMac. Sure, we are not talking hi-fi here but how much music is played through high-end systems? It was an under whelming experience that exposed some inadequate recordings. There was a lifeless quality that cannot be tolerated in down beat blues.

Don’t get me wrong. I think this lady has some good material, and certainly plays a mean guitar. The problem with blues is how to sound blue without simply being depressed. There needs to be certain resilience in the voice. Deborah struggles with this. The songs seem to have been chosen with a cynicism about love. The issues of loves trials have often been better dealt with by the country and western crowd.

All of this seems a little harsh so are there redeeming qualities? I think that Coleman is still developing her style. As a black American singer I was surprised how well she handled a couple of tracks, Undeniable and The River Wild. Both of these have a distinctly American Indian sound and hint at her potential. In the last track, Woman in Love, she does start to give some idea of what she could do if she really let herself go. Take a Prozac and two Viagra and call me in the morning. John Groom

Franz Ferdinand: Franz Ferdinand

Sony Music Entertainment

One-trick ponies have a problem… they only have one trick! And if they only have one trick, you hope it is a new and more interesting trick. Franz Ferdinand is guilty of recycling the New Wave music of the early Eighties. Post-disco beats sound laughable to older rockers, like me, but then this music is aimed squarely at the youth dance market. The disco beats will sound new and exciting to them. Another clue to the target market is the relentless list of tracks like Jacqueline, Tell Her Tonight, Cheating on You and my favorite Darts of Pleasure… get the picture.

The Brit press is hailing this band from Glasgow as the new great Brit rock band, labeling their music as New Art and their lyrics as clever. Please.

Franz Ferdinand will have to work harder on the next album to show that they have more substance than catchy lyrics and riffs. I found this one-trick pony disappointing, but then I’m older than the age of consent. Richard Nelson

Benny Green and Russell Malone: Bluebird

Telarc

Being a huge fan of both these artists on earlier individual releases and the previous live recording, I couldn’t wait to here them together. Sadly it all didn’t live up to the promise, with some tracks leaving me wondering if both players were in the same studio given the lack of empathy.

Stick to earlier releases from either artist, perhaps 1992’s That’s Right from Green, definitely Sweet Georgia Peach from Malone or even their earlier live recording together Jazz at the Bistro. Allan McFarlane

Grant Green: Goin’ West

Blue Note

This 2004 Blue Note reissue in the Rudy Van Gelder Editions offers little new to the burgeoning jazz reissue catalogue. If you say that’s not necessarily a bad thing, then in this case you’d be exactly right. Only an artist of the calibre of Grant Green can get away with a jazz version of On Top of Old Smokey, hugely helped (again) by a tamed yet swinging Herbie Hancock on piano. These two are joined by Blue Note regulars Reggie Workman (bass), and Billy Higgins (drums) for a 1962 session that borders on cheesy but in the end totally swings. Well worth an audition. Pure fun. Allan McFarlane

Sarah Harmer: All Of Our Names

Zoe Records (Rounder)

This is the kind a CD reviewers love, arriving unaccompanied and hype-free it makes an immediate impact and grows and grows. Having missed the debut album You Were Here (apparently top 10 of the year in Time magazine and the New York Times), this release was and continues to be a total delight.

Described by one over-hearing listener as Susanne Vega-ish that is close enough to give an idea but there is more going on here. The Vega-like simplicity of vocal delivery is there but not the relentless introspection. More of a story-teller, Sarah Harmer arrives unheralded but very recommended. Now to find that debut... Allan McFarlane

Stan Kenton: Back to Balboa

Capitol Jazz

Back to Balboa was first released in 1958. Remastered and released for the first time on CD, this mono recording was made in a large wooden hall overlooking the blue Pacific Ocean on the southern coast of California. The unique spacious sound of this recording is attributable to the acoustics of the cavernous hall with a great arched wooden ceiling.

At a time when most people were listening to rock and roll, Stan Kenton was persevering with the big band format. He uses big brassy harmonies that allowed him to paste great swathes of colour. His is a more orchestral approach to the music that has influenced big bands from the sixties on. The music on this album is an eclectic mix of dance, swing and ballad. Rendezvous at Sunset easily shows the quality of the band while allowing trumpet soloist Sam Noto to shine. Cole Porter tunes like Begin the Beguine and I Concentrate on You have a latin rhythm to keep them swinging along. This release has four bonus tracks that were recorded at the time, including the Stan Kenton classic Artistry in Blues.

All great music is timeless. Although this album was released in the late fifties it has not dated and stands as a tribute to a champion of the big band. Richard Nelson

Jason Miles: Maximum Grooves Coast to Coast

Telarc

It’s a quiet revolution. Jazz elements have been slowly infusing themselves into modern living. You hear them at the coffee shop while sipping your low fat, decaf, moccachino. At the gym it’s on during the pilates workout. It’s hard to keep good music down. Let’s face it, jazz is cool… again (some would say it always was).

At this stage the revolution is limited to samples, snips or riffs against a bleak background of techno. Enter keyboardist, composer, producer Jason Miles. Maximum Grooves is his attempt to “take it one step further” to add “a little bit more bite”. Jason mixes great musicians like Herb Alpert, Walter Beasley, Romero Lubambo and a host of others with his trademark tight beats and slick production. The music is reminiscent of Steely Dan without Donald Fagan’s dry vocal. The first track, Everyday Magic, is typical of the album. The sax of Jeff Kashiwa is set against a deep, soulful bassline and easy-going rhythm. The music follows a chorus, verse, chorus format returning often to the catchy hook. This is great music to have on in the car during the morning commute or in the background during a dinner party or to just while away the hours. The groove keeps you moving, but the overall feeling is one of relaxation.

If you are looking for a new soundtrack to your life, Maximum Grooves should be it. Jason Miles has proved once again that you can’t keep good music down and if I had my way the jazz revolution wouldn’t be so quiet. Richard Nelson

Pete Murray: Feeler

Columbia

Every reviewer wants to be there as a new performer comes through and rises above the ranks. I feel excited about the music of Pete Murray. It is hard to classify music nowadays, as so much crossbreeding takes place. I think of this as a soft-rock sound. I am reminded at times of Jack Johnson at other times of James Taylor. It’s all original material and I particularly liked the simpler acoustic tracks like Freedom and No More. His stories are urban, gritty and real.

His music is soulful, delivered with a warm soft voice, like an Autumn Sunday afternoon. Pete is not just sensitive however; he can be direct and ballsy. His treatment of No More is one of the most powerful songs going, about the impact of domestic violence. These songs are all the more powerful for their simplicity. His acoustic guitar is hypnotic but his voice rises cleanly out of the mix.

This music is very well produced by Australian Paul McKercher, with a clear aim to keep the music as ‘stripped back as possible...and let the words and vocals tell the story’. I only wish that New Zealand producers could take a few hints from this!

I was not surprised to learn that Murray is a fan of Neil Young and Bob Dylan, or that he wanted the album to portray the feelings in way that would have the same impact in 30 years time. He has indeed created a classic, buy it. John Groom

Nancy Sinatra and Lee Hazelwood: Nancy & Lee 3

Boots Enterprises (Warner)

Back in the sixties these two had a string of hits (Summer Wine, Jackson, Lady Bird) that finally filled an album that became a collector’s piece for followers of brilliantly arranged cheese. There was a second album that didn’t do too much, then suddenly out of nowhere we have No.3 !

I love it. (Many will despise it.) The ridiculously low bass of Hazelwood, the searing strings all brewed together in a pastiche of sounds that induce a welcome smile. Nancy Sinatra has lost none of the skill to weave the most out of some rather incredulous song choices, arrangements are suitably over-the-top and the whole is just pure fun. Looking for a tonic from people who take themselves too seriously. Seek this one out. Allan McFarlane

Townes Van Zandt: Legend

Charly

Sometimes I don't know where

this dirty road is taking me

sometimes I can't even see the reason why

I guess I keep a-gamblin'

lots of booze and lots of ramblin'

it's easier than just waitin' around to die

In these words from Waiting Around To Die Townes Van Zandt does a good job of summing up his own life. It's possibly fair to say that he didn't just wait around to die, the amount of alcohol he consumed sped the process somewhat. Depressive, nomadic and troubled, he never-the-less produced a large number of stunningly good songs as evidenced by this wide ranging, forty two track, two disc set from Charly records.

Covering recordings from 1969 through to 2001 it's very difficult to be unmoved by this collection. At time Van Zandt's voice shares a loose relationship with the tune, but it never veers from the heart and truth of the songs. The much covered classics If I Needed You and Pancho and Lefty lead off the set but then there are so many others that are in my view equally good. The story of hardship and loss in Tecumseh Valley could have been trite and tacky in other hands but not here. Flying Shoes, Lungs, Our Mother The Mountain are all songs that can drag you in without even trying.

Legend is an overused word but it fits perfectly when discussing Townes Van Zandt. Guy Clark, Bob Dylan, Lyle Lovett - they and many more were all touched by his music in one way or another. If you buy this album of Texas country/folk/blues you may well be touched also. Take your time, really listen to the words and you'll find fitting reward for the time you spend.

I think I'll leave the last word to a much higher authority than me, Steve Earl: "Townes Van Zandt was the best songwriter in the whole world and I'll stand on Bob Dylan's coffee table in my cowboy boots and say that!"  Craig Fenemor