JEFF CASCARO: Love & Blues In The City (Herzog Records)

Friday, 17 November 2017 12:54 Bill B E-mailPrintPDF

altProper soul fans know a thing or two about German singer/trumpeter Jeff Cascaro. They have fond memories of his 'The Other Man' and 'Mother And Brother' albums and now the professor (right! - he leads the jazz faculty at Germany's prestigious Franz Liszt Conservatory at Weimar) offers something a little different with this –his latest ten tracker. Herr Cascaro says: "The time was ripe to record a more jazzy and intimate album. I wanted to put a stronger emphasis on the voice and its delicacies."

Hear if Jeff's succeeded as he works his way through a set of seven covers and three originals. Highlight of the covers is a six minute version of Marvin Gaye's 'Inner City Blues'. It rides a loping, bass line (Christian von Kapehengst), is garnished with crystalline piano (Henrdik Soll) and topped with a horn solo from Jeff himself. It completely captures the melancholy hopelessness that Gaye intended when he wrote the song. Other delights include the gentle twist on 'Since I Fell For You', the imaginative take on 'A Taste Of Honey' and the biting version of Bobby Bland's 'Ain't No Love In The Heart Of The City'.

The original 'Hold On To Now' maintains the melancholy while the other two "new" songs – 'I Love You Baby' and 'It's Alright' are sprightlier. 'I Love You Baby' (a duet with Fola Dada) is particularly jaunty and like the other two self-penned numbers allows Cascaro to flaunt his Michael McDonald flavoured vocals.

Listen and find out more @

(BB) 3/5

Last Updated on Friday, 17 November 2017 13:07


PHYLLIS HYMAN: 'Deliver The Love - The Anthology' (SoulMusic Records)

Friday, 17 November 2017 12:24 Charles Waring E-mailPrintPDF


For some, the statuesque Phyllis Hyman was a goddess among mortals just in terms of her physical beauty, while for others, she was a captivating presence simply because of her unique voice which was capable of making everything she sang seem real, deeply personal and etched with sorrow. There have been a raft of Hyman retrospectives over the years and most revisit the same old familiar tracks though thankfully, this one is a little different. As well as offering an overview of her Buddah and Arista years, there's a glimpse of her time at Gamble & Huff's P.I.R. label, while the second disc in this set focuses on some of the singer's many and meaningful collaborations with noted jazz musicians, which for Hyman fans makes this a must-have compilation.

Interestingly, disc one opens with 'Baby (I'm Gonna Love You),' her George Kerr-helmed one-off 45 for indie label, Desert Moon, in 1976 before proceeding to mine her Arista canon for immutable classics like 'You Know How To Love Me,' and 'Living Inside Your Love,' (you get the extended versions of both of these), though it also serves up lesser known gems like 'Sleep On It,' and an outtake from her Philly sessions with Gamble & Huff in the shape of 1991's 'Hottest Love Around,' both first released in 2003 on an Expansion CD of rare and previously unissued material.   

But disc two is the one that will pique the interest of Hyman fans who already have most of her Arista repertoire in their collections. Though her collaborations with producer/drummer Norman Connors are well-known (like the fabulous 'Betcha By Golly Wow,' which appears here), her three sensational cameos on jazz pianist McCoy Tyner's 1982 album, 'Looking Out,' are not. They comprise 'I'll Be Around,' 'In Search Of My Heart,' and best of all, 'Love Surrounds Us Everywhere.' Evidently, jazz musicians, liked working with the singer, and even the mighty, mystical god of astral travelling, saxophonist Pharoah Sanders, hooked up with her on his album, 'Love Will Find A Way.' Included here from that set is 'As You Are.' An even better Hyman cameo was on another saxophonist's album - Grover Washington Jr's 1989 platter, 'Time Out Of Mind,' from which the haunting 'Sacred Kind Of Love' is taken.

Though the name Barry Manilow is anathema to many serious music fans, he worked with the singer at Arista (on 1978's 'Somewhere In My Lifetime') and also, featured her on his 1987 album, 'Swing Street,' from which the jazz-tinged atmospheric duet, 'Black & Blue,' is taken. There's also an intriguing soundtrack curio here - the Thom Bell-helmed 'Magic Mona' from the movie 'The Fish That Saved Pittsburgh' - as well as Hyman's 1981 version of Duke Ellington's 'In A Sentimental Mood,' which appeared on the original cast recording of the stage musical, 'Duke Ellington's Sophisticated Ladies - Hooked On Ellington.'

This anthology certainly delivers - but then you wouldn't expect anything else from SoulMusic Records, would you?   

(CW) 4/5

Last Updated on Saturday, 18 November 2017 09:56


MAVIS STAPLES: 'If All I Was Was Black' (Anti-)

Thursday, 16 November 2017 12:39 Charles Waring E-mailPrintPDF


Mavis Staples is 78-years-old but still making records that matter. 'If All I Was Was Black' is the Chicago-born singer's fifteenth LP of her long career and her third collaboration with noted producer, songwriter, guitarist, and Wilco member, Jeff Tweedy. It's an album whose theme of racial discord and a polarised world reflects a dysfunctional America in the divisive Trump era. But as Mavis Staples can tell you from personal experience, it's an America that hasn't changed much from the days of racial segregation and persecution that she was a witness to when she began her career singing gospel music with her family in the 1950s. Mavis also was a staunch supporter of Martin Luther King Jr in the Civil Rights era but this album demonstrates that the social and political victories of those heady days of the 1960s, which seemed to augur better days ahead for African Americans,  may now be a thing of the past. The present incumbent of the Whitehouse has seen to that, fomenting racial hatred, opening up old wounds, and deepening divisions.

Jeff Tweedy (who wrote/co-wrote all of the songs specifically for Mavis) and his musical confreres provide a backdrop for Mavis that blurs the demarcation lines between soul, country, folk, gospel and rock. The music is also subtly understated, allowing the singer's distinctive voice - which has lost none of its richness over time - to shine. All ten songs create a vivid storytelling tapestry of  protest and social commentary, though without being specific about events and people. That gives it a transcendent universality that anyone who is disenfranchised can relate to.  'No Time For Crying' stands out for the tension of its driving funk beat - a mixture of Motown and Sly Stone's 'Dance To The Music' - its urgency reflecting the song's lyrics about having "work to do" even though "people are dying" and "bullets are flying." 'Build A Bridge,' with its anthemic chorus, is also hopeful, and its groove is almost stately. Indeed, despite the dark sobriety of some of its themes and tone,  'If All I Was Was Black' - whose title song is looking beyond skin colour and recognising our shared humanity - it's an album suffused with light and love. That feeling is epitomised by 'Peaceful Dream,' whose acoustic guitar filigrees and simple percussive handclaps recall the gospel-folk style of a pre-Stax Staple Singers.

Though this is a record initially born of despair, perhaps, ultimately it is brimming with hope and posits the idea of a world redeemed of its wickedness by embracing love. That might be idealistic, perhaps, given humanity's chequered history, but it's a noble vision nonetheless. Of course, Mavis Staples has been around long enough to tell you that she knows it isn't going to be easy, as she acknowledges on 'Try Harder,' but she's sure-as-hell going to give it a good go. If only she was the president of the United States.  A sensational album.

(CW) 4/5

Last Updated on Friday, 17 November 2017 08:21


JUSTIN YOUNG; Blue Soul (JustinTime Records)

Wednesday, 15 November 2017 20:36 Bill B E-mailPrintPDF

altJustin Young is a Detroit smooth jazz sax man and he's just released this – 'Blue Soul' – his fourth long player. The album's title track highlights the set's overall sound. The cut is a polite but solid soul-based groove. It boasts a catchy, memorable melody and is delivered with the slickness that the best smooth jazz is noted for. Given Young's Motor city roots, it's hardly surprising that the 12 tracker offers plenty more of the same – notably the current single 'High Definition', the almost funky 'Nothin' But Love' and the intricate 'Razzmajazz'.

The other major Smooth Jazz box that 'Blue Soul' ticks is "the Quiet Storm moment". Best to these ears is the soulful meander that is 'Jazz Along The 101'. Elsewhere tunes like 'Paradise Found' and 'New Life's stray into bland Kenny G territory. I guess it's down to the twee soprano sax sound.

Surprisingly for what is a classic smooth jazz set there are no big Latin moments, no familiar covers and no vocals... one (or several) of any of those might have created a tad more interest... though as we've said this is classic smooth jazz – no gimmickry, no trickery, no demands; and for those who like to know these things, helping Justin deliver are sideman of the calibre of Jackiem Joyner, Sheldon Reynolds (ex EWF) and the late Ricky Lawson.

Justin Young's 'Blue Soul' is released November 17th

(BB) 3/5

Last Updated on Thursday, 16 November 2017 17:20


LARRY CORYELL: 'Larry Coryell At The Village Gate' (Real Gone)

Sunday, 12 November 2017 10:09 Charles Waring E-mailPrintPDF

                         altThe late Larry Coryell was a leading light in the birth and evolution of jazz-rock guitar in the late 1960s and early '70s and was a hugely influential figure (among those that fell under his spell included Return To Forever guitarist, Al Di Meola). He had risen to fame replacing Gabor Szabo in drummer Chico Hamilton's band in the mid-'60s and then in the latter part of the same decade appeared on several groundbreaking albums by vibraphonist, Gary Burton, where, favouring distortion over a clear sound, he pioneered a meld of jazz and rock that would become known as fusion.

'At The Village Gate' takes us back to the dawn of Coryell's solo career. It was the Galveston axe meister's fourth LP, recorded live at famous New York's jazz venue, and originally released in 1971 on the Vanguard label. It's been long out-of-print and is now revived by US reissues specialists, Real Gone. It proves to be an enthralling listen, especially for the guitar heads out there. Coryell leads a power trio, comprising Mervin Bronson on bass and Harry Wilkinson on drums (who hadn't been playing with the guitarist for very long) and as a result the music is spare and stripped-back, allowing Coryell's guitar to shine.

The first number, 'The Opening,' with its use of muscular riffs and a heavy wah-wah sounds very Hendrix-esque and shows how many rising guitar players in both the jazz and rock arenas had fallen under the spell of the flamboyant guitar avatar (Hendrix had died the previous year, in 1970). 'After Later' is less visceral than 'The Opening.' Though faster, it's more subtle and is built on a more complex set of riffs and from a perspective of dynamics and texture, offers lots of contrasts of light and shade. But when Coryell solos, the song takes off into another dimension, though the intuitive rhythm section keeps the track firmly anchored.

A driving version of Chick Corea's 'Entardecendo en Saudade,' which is propelled by an ostinato bass part, shows another facet of Coryell's playing, with its meld of jazz, rock, funk, and shades of psychedelia.  

A cover of ex-Cream bassist Jack Bruce's 'Can You Follow (Dance On the Green Hill)' - Coryell played with Bruce in the late-'60s - begins with Harry Wilkinson's crisp drum patterns before Coryell enunciates a dark, reflective melody. It's the longest cut on the album and shows the guitarist working in a more exploratory, jazz-tinged vein. Closing the album is a song written by Coryell with his then wife June, who also sings on it as a duet with her husband. It  begins as a ballad with plaintive folk overtones but then after three minutes morphs into a thundering heavy guitar workout riding on a propulsive one-chord vamp where Coryell exhibits his fretboard prowess with dazzling improv.  

Sadly, Larry Coryell passed away earlier this year at the age of 73. Though not one of the best known works in his canon of 70 albums, it's worth investigating as it shows what a magnetic live presence he was early on in his career.  

(CW) 3/5

Last Updated on Sunday, 12 November 2017 18:08


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