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Oct. 21st, 2006 @ 02:37 pm Review: Tony Bennett - Duets: An American Classic


I think Tony Bennett is stalking me. I do not stay this lightly. The man has a way of pushing himself into my doggone life at times I least expect it.

OK, here's the evidence. Exhibit A. There is "I left My Heart in San Francisco". I was just some gawky puppy trying to catch the latest Beach Boy record on the top 40. Maybe if I was lucky, a James Brown tune. But that song about the Bay City was EVERYWHERE! you couldn't turn on a radio without hearing it. Of course, I knew the song was bogus. if anyone left a heart lying around I would have gobble it up ventricles and all. You gotta admit the song is a little weird. Reminds me of what horror story writer Robert Bloch used to say, "I have the heart of a small boy. I keep it in a jar on my desk". But again, I digress...

Exhibit B. There was the time I was in ...you guessed it...San Francisco. I was enjoying the cable car parade. There was then Mayor Dianne Feinstein standing there with none other than Mr. Bennett. As the crowd started applauding, he let out an acappela version of ..right... you got it... "I LEFT MY FRIGGIN" HEART IN FRIGGIN" SAN FRANCISCO"!!!!!!!!!

Exhibit C, I went to see the Tonight Show when Johnny Carson ruled the roost. A friend and I wanted to see the amazing magician, Doug Hennings. But who else would show up than...need I say it?. And guess what he sang? Please don't make me repeat it.

At this point, I was a little suspicious. But I didn't really believe it until he showed up on MTV Unplugged. This cemented it. Since then I've looked over my shoulder expecting to see him behind every rock and rock star. I mean, one day I'll be dipping my paws in the Colorado River and the head of Mr. Bennett will pop out of the current screaming "I LEFT MY HEART In SANNNNNN FRANNNNN..." ARRRGGGGHH.

And this is one of my nicer nightmares. You should hear the one about Michael Bolton.

Perhaps I should mention I really like Tony Bennett. The man is total class. He is also the best interpreter of popular ballads since the incomparable Mel Torme. While popular music shifted through its many fads, while the public changed their fickle tastes, while music corporations molded music into its lowest denominators, Tony Bennett remained an immovable, steadfast standard of good taste. And that voice! Like a trustworthy friend, It remained reliable, strong, and, even at eighty showing only barely a hint of age. If anyone is deserving of the term Icon, It's Tony Bennett.

So after already flirting with the MTV crowd, Mr. Bennett has released the obligatory duet album, singing aside a number of pop stars ranging from The Dixie chicks to Barbra Streisand. Is Bennett able to avoid the traps of pop star worship with singers not fit to stand on the Golden Gate Bridge with him?

The verdict is mixed. But for starters, let us say this is a totally enjoyable outing. While not all pairings work, all benefit from Bennett's incredible phrasing and warmth. There no elitist cynicism here, as on Frank Sinatra's putrid duet efforts. Bennett is having fun and so are his cohorts.

When the duets works it works like a miracle. Sort of like the local car dealer, Miracle Vic, whose motto is "If it runs, it's a miracle".The first track, "Lullaby of Broadway', with The Dixie Chicks would appear to be the biggest risk. However, it is a joy as the country darlings put on their best Andrew Sisters act and swings nicely with the old man. The next track features "Smile" with Barbra Streisand. It should be no surprise that they are two colleagues who are totally appreciative of each other's brilliant delivery of this beautiful ballad. The same can be said when Bennett sings with songtresses Diana Krall, K. D. Lang, and Celine Dion. Bennett does well with divas since even divas know they have to bow to a king sometimes. He doesn't ignore the boy singers either. James Taylor and Bennett appears to be having a lot of fun with "Put on a Happy Face". Elvis Costeilo has already proved he can nail a standard and doesn't let Tony down. Stevie Wonder duos on his own "For Once in My Life". They slow down the tempo to turn the song into an exquisite ballad embellished by an outstanding Wonder solo on harmonica. Young upstart Michael Buble sounds wonderful with the grand old man and firmly sets himself up as Bennett's successor.

Those are the highlights but many tracks features a secure Bennett with a superstar that seems unsure of the setting. Paul McCartney is not a balladeer of American standards no matter how hard he tries. Elton John has the same problem with "Rags To Riches". Billy Joel's attempt on "The Good Life" is just plain embarrassing as is Tim McGraw on "Cold Cold Heart". Who would of thought Bennett could outgun McGraw on a Hank Williams song?. One rock star that more than holds his own is Sting on "Boulevard of Broken Dreams". It is one of the real stunners on this album.

The other singers on this CD include Juanes, John Legend, George Michael. And yes, Mr. Bennett sings "I Left My Heart In San Francisco". It's the only solo track on the album.

So overall, this is an entertaining, enjoyable affair. The only other issue I have is Bennett's sometimes cloying habit of commenting on the singers during the songs. Do we really needs to know that he loves Barbra's style or that Stevie is Wonder...ful? Yet it fits into his likable and casual way with a song. So on the Dawg's bone scale, five being a classic, I'll give this a respectable three and a half bones.
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Sep. 29th, 2006 @ 04:31 pm A Belated Look at New Albums or Is Summer Over Yet?
Damn! I hate the heat! Love the desert but hate the heat. I'd rather have sunburn than frostbite though, which is why The Boss and I chose this little cactus paradise. When the temp hits 110F I scoot indoors, hide under the bed, and snooze until Fall. Which is my way of apologizing for the absence of journal entries. All of you must have been waiting in suspense all summer for my next entry. Right. And there's a pile of WMDs under the cat's litter box. The temperature sneaked under 99F today so I thought I would exercise these paws on the word processor.

Falling mercury wasn't the only thing that woke me from my voluntary limbo. The Boss had the TV on Fox News and I heard the dulcet tones of former President Clinton. Dulcet like a hornet! He was berating Chris Wallace fo attempting the usual hit job FOX does on anyone left of Anne Coulter. All I can say is kudos for Big Bill. It's about time someone put that swarmy Chris Wallace in his place and called FOX on their sorry excuse for journalism. Now that Bill has set the tone maybe other liberals and moderates will adopt the same stance Reagan took with Mondale during the 1984 presidential campaign. When FOX News uses the same misleading accusatory questions they reserve for anything outside the conservative realm, all the interviewees need to do, since Clinton set the ground work, is to use the same line that Reagan did.."There you go again" and maybe the viewers will learn to recognize the shoddy methods that pass for journalism in Murdockland. I could say a lot more but I'm suppose to be writing some record reviews. If you want me to say more, leave a comment and I may at a later time. Besides, I've been thinking of do a political blog like Matt Drudge does. Anyone want to buy a stained blue dress?

OK. Let get caught up on some dynamite albums that didn't get melted in the heat of summer.



This first one is so hot it probably melted a few Ipods by itself. Chris Potter is a recent addition to the decreasing number of good post-bop saxophonists. He is firmly in the jazz tradition with a clear and huge debt to Sonny Rollins but his sharp and snappy tones brings more than a little funk and rock to the post-bop arena. His 2006 release Underground steps right into this funk-bop mode with the first track. "Next Best Western" barges along with the energy usually reserved for rock stars (the ones who haven't sold out, that is). The energy is augmented with superb backing by guitarist Wayne Krantz, keyboard artist Craig Taborn, and drummer Nate Smith. Did I say backed? The "sidemen", especially Krantz, are a integral part of the success of this album. Krantz astounds throughout and Taborn's imaginative work behind Potter on "Nudenik" has to heard to be believed. The recording is evenly divided into pot-boilers and mood pieces. I go for the cookers myself but Potter does an incredible job in interpreting Strayhorn's "Lotus Blossom" and Lennon/McCartney's "Yesterday". There is a celebratory nature on this album that has been missing for years in most jazz endeavors. It's still too early to say Underground is the best jazz album of 2006 but its will be hard to surpass it.



If any 2006 release does surpass it, the mission will be led by by an unjustly forgotten jazz vocalist of the 80s and a sometimes unappreciated veteran of soul jazz. Randy Crawford became a bit of a sensation when she teamed up with Joe Sample and the Jazz Crusaders for "Street Life" in 1979. The vocalist had a electrifying style that should have meant a lucrative career but, for reasons beyond my comprehension, never really caught on. She did what a lot of artists do in that circumstance. She went to Europe where her talents were more appreciated. Joe Sample has fared a bit better after leaving the Jazz Crusaders by building up an impressive reputation as a keyboardist and composer/arranger. While starting as a post-bop player, Sample flourished by writing and recording some of the best examples of the often maligned sub-genre called Jazz Fusion. Now they have re-united with Feelin' Good. It's an excellent pairing proving that commercial jazz doesn't have to be condescending and easy listening doesn't have to be bland. Sample's chops are fine honed and exudes good taste. His arranging has never been better. Sample does everyone justice by keeping the session a small and intimate affair rather than the overproduced army that usually plagues this form of music. Randy Crawford's voice is like mana from heaven forcing us to realize just what we've been missing these last two decades. It's hard to find a superlative that effectively describes her performance but just a one listen to the title track will demonstrate her amazing vocal skill in song interpretation. Sample's groove based piano stylings are right there next to her. The songs are mostly old and new standards, all impeccably interpreted, giving a new look to even the oldest warhorse. There's only one Sample original here "Last Night at Danceland", but it's a winner. Of the others, "The End of the Line", "But Beautiful", and "Save Your Love For Me" are near perfect ballads. "Rio De Janiero Blues" is a latin tinged wonder that has the two collaborators in a playful but bittersweet mood and Harry Neilsson's "Everybody's Talking" is given a jazz sendoff that late Nilsson would have been very happy with. Did I say near perfect? This may the most perfect thing since Cheddar-Jalapeno Cheetos. Crawford and Sample have more than adequate help by some heavy hitters. Steve Gadd, Christian McBride, and other add expert nuances throughout. Let us hope Crawford and Sample doesn't wait 25 years to strut their stuff. At least, let's recognize Crawford as the great jazz singer she is.

Since I'm also posting this to the Last.fm eMusic subscriber group, I probably should mention that Feelin' Good is not yet available on eMusic.



Never heard of Darondo? Don't feel bad. Neither did I until I listened to this first time compilation titled Let My People Go by the unjustly neglected soul artist of the 60s and early 70s. As the title track confirms, Darondo was an extraordinarily passionate vocalist. At his best, his style combined the urgency of Otis Redding with the simmering sexiness of Marvin Gaye and Al Green. On "Legs", he even predates Prince's falsetto lustiness.This is way better than anything being hyped as urban/soul/R&B in the current generation. There are some problems with this collection. The production values are often third-rate and Darondo's vocal limitations sometime show up glaringly as on "Sure Know How To Love Me." and "Listen To My Song". But when he is good, he cooks. Other Highlights include "Didn't I" (not to be confused with the Delfonics hit of the same name) and the testimonial "How I Got Over" which owed a great deal to Al Green's gospel-grind intensity.



The best rock album yet of 2006 goes to The Drive-by Truckers with A Blessing And A Curse. The group's punk fringed brand of Southern rock never sounded so good since the classic Southern Rock Opera. If anything, The guys have mellowed out a bit often letting their lyrics stand out above the sometimes blaring guitars. There's more of a reflective glow to this album. Patterson Hood continues to refine his vision of human passion and seeking. His patented narration is limited to one track but the band does well on this album to let the music speak for itself. The title track is especially moving, a purgatorial anthem of the pain and paradox of relationships. There are two acoustic jewels in "Space City" and "Little Bonnie". Hood's monologue appears on "A World of Hurt" and the beginning line ("Once upon a time my advice to you would be to go out and get yourself a whore / I guess I've grown up 'cause I don't give that advice anymore") reveals both a growing maturity and a continuing frankness with the unsavory facts of life. The Drive-by Truckers just gets better as they grow up.



Finally, we come to a contender for come-back of the year. He'll be battling for that honor with Dion, Eric Burdon, and Jerry Lee Lewis (whose new album is said to be a real screamer. Unfortunately I haven't heard it yet). Tony Joe White has been reviewed in an earlier column but his new 2006 release Uncovered, also not yet available on eMusic, is a revelation. White's brand of country and blues hold up fine 40 years after "Polk Salad Annie" and is full of blues emotions rarely seen in our Clear Channel world. The opening track "Run for Cover" shows Mr. White hasn't wandered far for his Southern swamp roots. The track steams and boils in a swampy grind aided by a superb Wayne Johnson horn arrangement. The swamp dog is well assisted on certain tracks by Mark Knopfler, Eric Clapton, JJ Cale, Waylon Jennings, and Michael McDonald. All of them had the good sense to stay in the background and let White's smoky baritone rule the day. Waylon Jennings voice blends perfectly with White's and Eric Clapton bring his collaboration to new heights by simply playing what he does best, the blues. It's hard to remain indifferent to the poignancy of a Tony Joe White song like "Did Somebody Make a Fool out of You" or "Rainy Nights in Georgia". I guess we all have a little swamp in us. The last two tracks on the CD are real winners. "Taking The Midnight Train" is a riveting look at the unfairness of life while "Keeper of the Fire" is a funky caldron of soulful love and lust that boasts "She an intellectual woman, I'm a low maintenance man / Lord. I'll take her love any way that I can". Enjoy this album but don't blame me if you get a craving for alligator tail and grits.

Well, there you have it. The lowdown on what I've been diggin' this summer...beside bones that is. I'll try to write more often. In the meantime go check on what the Boss has to offer on Free Albums Galore. A hint; grab that free Mississippi Alligator blues treat fresh from the juke joints of Barcelona. Comprende, Amigos?
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Apr. 25th, 2006 @ 11:23 pm YUPPIE! YUPPIE! YUPPIE!


"Dammit, Blues. Don't call me a Yuppie!"

The argument started, like most arguments, over nothing. I just started listening to some new albums I snatched from Ol' Fang when he wasn't looking. Normally the old coyote's country music doesn't move me but lately I've been softening my position on Fang's choice in tunes. After all, his Van Morrison recommendation was a good one. The Boss came in while I was digging Norah Jones' kinda cool cover of Elvis' "Love Me". He snickered and said "OK Blues. You're turning into a cowboy now"

I snarled. "Well then... You're a Yuppie.

The Boss hates being called a Yuppie.

That when he lost it. "Take a look outside, Dawg! You see any skyscrapers'? no! You see cactus! Roadrunners! Sand! frigging saguaros. These are shorts and t-shirt I'm wearing not a suit! I am not a Young Urban Professional!

"Well you're not young, that's for sure!"

The Boss turned the color of a lobster.

"DON't CALL ME A YUPPIE!

"YUPPIE! YUPPIE! YUPPIE!"

OK, so sometimes I'm a little immature.

The Boss muttered something about a future ration on Kibbles and stormed out.

Baby boomers are all alike. The Boss brags about his Anthony Braxton records and raves about Silent Alarm but when no one is looking he puts on some Rolling Stones or Norah Jones. The honest truth is that some of those very popular artists are pretty good. With all these comebacks by baby boomer favorites, maybe he shouldn't be embarrassed to hunker down to some classic rock. Except they're not really playing rock any more. Dion just put out a blues album. Van Morrison donned a cowboy hat . It appears that The Boss isn't the only one going through an identity crisis.

Take the albums that Fang "loaned" Me.

Norah Jones certainly isn't a baby boomer but her sweet Rickie Lee Jones influenced voice appeals to the boomer crowd. Jones' first two albums were a huge success. They were also safe commercial efforts. My impression after hearing her CDs was "Hey Babe! You're good! Now play something that didn't sound like it was recorded to play in an elevator!". I knew she could do it. I happened to have heard her early work with The Peter Malick Group in which a then unknown Ms Jones bellowed the heck out of a few blues songs. That was then and this is the more famous now. Recently it appears that Ms. Jones has been playing with a little group on the side called The Little Willies and recently released an self-titled album of country covers plus four original songs. The group comprised of Jones plus three lesser known compatriots; Bassist Lee Alexander, Guitarist and vocalist Richard Julian, guitarist Jim Campilongo, and drummer Dan Rieser. Was Norah Jones about to stretch out a bit from her MOR leanings?

Well, yes and no. This is a country album but only in material. It is light and fun and inconsequential like her other albums. Her backing is excellent. Norah's own keyboard work is mellow and on the mark. But it never really takes off. It's a pleasant album you can put on and wash dishes to. Not that here isn't some great tracks here. Norah Jones does a marvelously soulful cover of Elvis Presley's "Love Me". She shows off her honky-tonk stuff on "Gotta Get Drunk" and "Night Life" is a good confirmation of how good Ms. Jones can be when she has a great song to sink her teeth into. Richard Julian has as many vocals as Jones and is quite impressive on "Streets of Baltimore" and "Tennessee Stud" but lets face it. If it wasn't for Norah Jones this would be an average soft country band. This will probably get some commercial success especially from the yuppies who will grab it up at Starbucks but eventually it will end up in the bargain bins alongside The Traveling Wilburys and The Blue Ridge Rangers.



Now, Bruce Springsteen IS a baby boomer. He also managed to shore up a reputation as a no-compromise classic rocker. Sparse and less commercial CDs like Nebraska and The Ghost of Tom Joad has made no secret of the influence socially conscious folk artists like Woody Guthrie and Pete Seeger has on his music. His new album is We Shall Overcome: The Seeger Sessions and is a tribute to the 86 year old folk singer. It is 13 tracks of folk tunes all joyously performed by Springsteen. His backing is enthusiastic and Springsteen has not sounded this great in years. This is clearly a labor of love. So why does this CD make me a little uncomfortable? For starters, Springsteen is backed by 13 musicians. These are classic folk songs of America. Seeger needed just a guitar and his voice to express these great songs and he did it elegantly. Springsteen has an army behind him and it tends to diminish the potency of the music. Supposely this session was done "live" with no rehearsal. In fact you can hear him yell key changes over some of the songs but frankly it sounds a little forced. The arrangements are just a little too slick. But then we return to Springsteen himself and his voice is a wonder. There's no doubting the sincerity of his delivery of this music. "Mrs. McGrath". "Jesse James", and "John Henry" exhibits Springsteen as a master storyteller perhaps second only to Seeger himself. "O Mary Don't You Weep" and "Jacob's Ladder" suggest that Bruce may have a future as a gospel singer if Rock and Roll stops paying the bill. "Pay Me My Money" is perhaps the best track and it's a joy. It's hard to fault this album and I must admit each listen gets better. But I can't help wondering if this great music needs the intimacy of just voice and guitar. I also wonder why Springsteen didn't include Seeger's epic anti-war song "Big Muddy". In the current political atmosphere, the power of the song could be devastating but maybe that's exactly why it isn't here. Even "We Shall Overcome" is pretty safe nowadays, isn't it.



By the time I got to the third album I was having a bad case of covers overdose. So I was pleased to see Mark Knopfler and EmmyLou Harris didn't have one cover on their new CD titled All The Roadrunning. In fact, all tracks are originals by Knopfler which goes a long ways in making this the best of the three albums. The strong cohesiveness of this CD belies the fact the these songs were recorded over a seven year period. On paper, Knopfler's sandpaper delivery and Harris's voice of country spring water shouldn't meld but it does. Rock and country never sounded so good together."Red Staggerwing" is pure country and rings a lot truer than the slickness of The Little Willies. Harris is exquisite on "Love and Happiness" . Dire Strait fans will love the hard driving "This is Us". A reflectful Knopfler shines on "Beyond My Wildest Dreams". Knopfler and Harris obviously enjoyed these collaborations and this is no more apparent than on the delightful "Belle Star". It isn't just that these two are immensely talented. There is real chemistry between them. These are two baby boomer idols who deserve a comeback and it is clear they never really ever slowed down. As it stands now, this is the best album of any genre yet to come out of this year.

So I left the three albums for The Boss to listen to, scratching "I'm sorry I called you a Yuppie." on the CD case. Yuppie or not, my mother told me never to bite the hand that feeds you. When he's not looking I'll bite him on the butt and blame it on the cat.


.
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Mar. 23rd, 2006 @ 11:41 pm Review: Prince - 3121


It can be successfully argued that the three most successful artists of the 1980s were Madonna, Michael Jackson, and Prince. It is beyond argument that all three artists have maintained superstar status into the 21st century. I could also argue that all three of these stars are known as much for their controversial persona as for their music. Madonna, Prince, and, to an lesser extent, Michael Jackson, made sex and controversy a stepping stone to their fame. Their role in broadening the range of allowable sexual themes in pop music may go down as their lasting contribution to our musical culture.

But Prince is more so much more than a pop star or icon of sexuality. After sensationalism and hype are blown away in the sands of time, Jackson and Madonna will only be known as famous curiosities. They didn't really do anything musically that wasn't being done by others except maybe they did it a little better. Prince was a pioneer. He managed to combine popular dance, rock, and soul in a way that no one had seen before. He continued to experiment never resting on his laurels culminating in the bizarre but masterful Sign 'O' The Times in 1987. I would also place The Black Albumof the same year next to it as a dark and powerful masterpiece of soul and rock.

During all this time, the seclusive Prince cultivated a public persona of eccentricity. How much of this was intentional is difficult to know. Unlike Michael Jackson, Prince knew how to separate his private life from his public life. Publicly, his battles with record labels were legendary. Half the time you didn't even know what to call him with that strange symbol and being formerly this and formerly that. Maturity probably has something to do with the fact that Prince is now just Prince.

It's probably safe to say Prince is no longer that obsessed with cultivating a public persona. He doesn't really have all that much to prove anymore. He is married with a child and his recent conversion to Jehovah's Witnesses has been well documented. While some see his conversion as another sign of weirdness I see it as a sign of a turbulent artist attempting to find stability in his world. It's not such a surprise considering how many spiritual references were already thrown rather chaotically into his early work.

With Prince's new album, 3121, you can hear this more mature and less conflicted artist at work. The first reaction is how much this sounds like the Prince of Purple Rain minus shockers like "Daring Nikki". The next reaction is that, as good as this album is, it doesn't have the unpredictability and manic feel of his two best albums, Sign and Black Album. This is the sound of a musician knowing where his strengths are and settling into a style that recognizes his past victories but doesn't rest on the past. Prince is too good to be an Elvis repeating his glory days over and over. As satisfying as this album is for the fan who wants the old Prince, there are plenty of refreshing new riffs and sounds to grasp on to.

Prince quickly proves he can still bump and grind with the best. "Lolita" and "Black Sweat" exudes sex in attitude if not in language. There are no explicit sexual lyrics in prince's post-conversion music although a few double entendres can still be found. "Lolita" is a cute look at the new Prince. Prince sings of Lolita is his usual way of physical lust but then demurely backs off as he sings "Lolita, you're sweeta but you'll never make a cheater out of me". Family values from Prince? What's next? Madonna sings about chastity?

Prince seems to have embraced the ballad quite heavily in this new album. While Prince have written some beautiful songs , he may be showing a new interest in ballads and "Te Amo Corazon" and "The Dance" may be two of his finest. "Incense and Candles" is a retro look, sounding like a slightly slower "Thieves In The Temple" but having the same luscious and sexy phrasing and beat. But his new found spirituality is not ignored either. "The Word" and "Beautiful, Loved, and Blessed" are blatantly religious. Some may find this bothersome. Personally, I don't think anyone should tell a musician what to sing about. What is more interesting to me is how Prince can invest so much creativity and energy in whatever he does whether it's a party song or a spiritual statement. The last track, "Get on the Boat" sounds like a party song but lyrics referring to a tribulation suggest Prince is singing about a more spiritual type of party. Whatever it is, It's a great upbeat ending to a nice album.

In Prince's latest CD, we are seeing a more mature and secure pop star. He is an artist who is still in his prime and is still delivering top quality pop music which is more than I can say for Madonna and Michael Jackson.
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Mar. 10th, 2006 @ 12:31 am Old Fang Meets The Welsh Cowboy


My morning started out just like my usual mornings. I ate my bowl of kibble. I chased the paper boy causing him to throw the morning paper in the swimming pool. I peed on the sofa and blamed it on the cat. You know. My regular routine. And, as usual, I went off into the desert to see if any of Farmer Garcia's chickens escaped last night.. They been known to wander into a little canyon a bit north of the golf course. I call the canyon Dawg's Chicken Motel because chickens check in but they don't check out. The canyon used to be the haunt of a coyote gang headed by a toothy old cuss named Ol' Fang. However, since his gang was decimated by the shotgun of Farmer Garcia with a little help from yours truly, Ol' Fang has been rather quiet. Rumors were that he was still recuperating from a little buck shot in the delicate hind regions.

I didn't see any chickens this morning but as I was leaving the canyon I heard a howl . There was Ol' Fang up on a ledge howlin' to his dear country music. I never been much into country but Ol' Fang was a cowboy in his heart. I was going to skedaddle out of there thinking he might still have a grudge against me. But this country music sounded different. Then it dawned on me.

"That's the Welsh Cowboy!" I yelped.

Ol' Fang jerked and saw me. "Welsh Rabbit? Where?"

"No, Fang" I barked. You're listening a real rocker! Van Morrison! No Freddy Friggin' Fender. No Garth "Aw Shucks" Brooks. No Mel T..T..T..Tillis, No Toby "I'm More Patriotic Than You Are" Keith. That's a pedigree rock and roller you're listening to!.

Fang chuckled. "Are you deaf now Dawg? That's country music."

He was right. The Welsh Cowboy actually sounded like a cowboy. It wasn't the first time. Tupelo Honey was oozing with country-western influences but it was still rock. This had the fiddles, steel guitar, the honkytonk piano. You could line dance to this sucker! But this stuff was GOOD!

So with Fang's assurance he wouldn't make hamburger out of my butt, I stayed and listened to Morrison's new CD, Pay The Devil. First thing I noticed was that this was fine vintage country. Even though it was recorded in Belfast with Morrison's regular band it sounded like it could have been made in Nashville. Almost all the songs except for three originals were old country tunes from the 50s. The second thing I noticed was that this was no "get on the band wagon" hack job. Morrison sang these songs with the same perfectionism and emotion he brings to his own material. Perhaps the obvious comparison would be to Ray Charles' classic C&W covers of the early 60s. Like Charles, Morrison bring his own brand of rock and soul to these recording yet respects the country tradition.

Morrison loses no time in stating his claim to this music by starting with the amazing "There Stands The Glass". This is one of the great western songs of all time and The Welch Cowboy pours all the pathos he can into it. You wonder if he didn't put this best boot first yet Morrison kicks into gear following up with Curly Williams' toe-tapping "Half As Much" and never loses control after that. Morrison is beautifully gut wrenching on the ballads "Things has Gone to Pieces" and "Till I Gain Control". Hank Williams' "Your Cheating Heart" may be one of the world's most recorded songs but Mr. Morrison still has a few new things to say in this old war horse. "Bucket Got a Hold In It" is a show-stopper of a honky-tonk number. Perhaps "What Am I Living For" is the best track on the album with Morrison crying out the lyrics like he has everything to lose. At the very end of the song you can hear him state to the band "That was worth it!" and you can not disagree.

Then there are Morrison's three originals. "This Has Got To Stop" is presented in classic western swing. It's the best of his original compositions. "Pay the Devil" and "Playground" are nice but slightly inferior to the superb covers on this CD. The most bizarre choice though is Morrison's rendition of "Don't You Make Me High". It's a nice track but this is more of a song for a woman. I just can't see a cowboy scolding a girl by saying "Don't you feel my thigh"! But then again I only assume he's singing to a woman. After all, this is the "Brokeback Mountain" era isn't it? But I'm really nit-picking here. Even in these tracks, Morrison's heartfelt "lived there " voice erases any doubt over this fine album.

All through this, Ol' Fang kept smiling like he gobbled up an entire chicken shack. I has to admit that maybe Fang knew his country after all. He just played me one of the best western music tributes I ever heard. I walked out of that canyon thinking Fang and I have something in common after all. I think he has also forgiven me for messing up his gang. Of course, I may have a new problem once he discovers I made off with his new Van Morrison Album!
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Feb. 20th, 2006 @ 10:14 pm Dixie Dawg Returns!
You'll have to forgive me. I've been howling up a storm over at the 2nd annual Colorado River Jazz Festival and I'm...Pardon the expression...Dog tired. But I promised you dawgophiles a review and doggone it if I don't deliver. And if I add one more canine locution I'm going to hang it up and let the cat write this!

It was three days of traditional and dixieland jazz reigning supreme near the Colorado River. Blythe was all decked up. They were serving Cajun styled meals over at the Sunset Grille. The RVs became a second city in the grassy area at the fairgrounds. The attendance looked like it may have doubled from last year but the big question is...Was it fun? Does a rattlesnake rattle? With seven bands rotating on two stages for three days, I was in Jazz Heaven!. Even the chilly winds that blew in on Saturday afternoon couldn't cool off the hot jazz. Festival organizer Sam Patel wouldn't let me go on stage and wow the lady dawgs with my jazz howling but that was the only thing missing this weekend.

There were three returning bands this year, Kinda Dixie from Las Vegas was one of the most popular bands last year. They were even better this year. I still think the name is a misnomer as swing and jazz pop seems to be their forte. Joe Hopkin's 52nd Street Band also returned, bringing some of the best musicians in Arizona with him. This time I especially noticed their vocalist, Renee Patrick, with her soulful voice accenting an already impressive ensemble. Rounding out the alumni was High Society bringing Chicago styled jazz to Blythe by way of San Diego.

Of the new bands to the festival, I was especially thrilled to see the Night Blooming Jazzmen. I was familiar with them in my dog days in Los Angeles and after 20 years they haven't missed a beat. They are still, in my opinion, the best ensemble playing in the traditional and swing style. The Alcatraz Angels from San Francisco was arguably the most Dixie sounding of the performers. Sporting sparkling blue vests that even the buzzards could see in the dark, they were definite crowd pleasers. The Chicago Six is another major dixie styled band and clearly another favorite with the crowd. Sue Palmer bought her Boogie Woogie Trio in to replace the ailing Carl Sonny Leyland. Her laid-back piano playing was a nice change of pace from all the big band sounds. Another nice touch was the vocal styling of Polly Podewell. Her lush voice reminded me of the late great Rosemary Clooney.

It was also nice to see more involvement from my fellow Blythians. The Palo Verde High School Jazz Band took the stage Friday evening, joining the 52nd Street Band on stage. These kids have been going to school at 6:15 AM just to rehearse for this event! I won't even get up at 6:15 to chase the paper boy! Give these kids a few more years and they may be headliners too! Some of the local churches rounded out the festival Sunday afternoon with a rollicking gospel program.

It was a very successful second year promising more great festivals to come. If Sam keeps up the good work I might have to dub him "Mr. Jazz"!
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Feb. 11th, 2006 @ 11:23 pm The Dawg's Guide To Jazz and The Internet


It's been busy here in the desert. The Colorado River Jazz Festival in Blythe, California is just around the corner. February 17, 18, and 19 to be exact. I've been practicing my Dixieland howling in case one of the bands fails to show up. You never know when the big moment will come. One day I'm digging up bones in the garden and my buddy Sam comes around and says, "We need you, Dawg. The lead clarinetist of the 52nd Street Band tripped over the drum set and busted his lip". The next day I'll be on the stage wowing the audience with my hot jazz howling and then it's off to The Tonight Show with Jay Leno. Pretty soon I'm digging up filet mignons rather than bones. Don't laugh! Sillier things than that has happened. Remember Tiny Tim?

In the meantime I fight with the cat over the last Kibbles and wait for The Boss to finish on the computer so I can astonish you with my smart-ass repartees. The computer is getting harder to come by since the boss took over Free Albums Galore. Where does he find those free albums? "Boss, is there any more free jazz music out there?" I ask. He doesn't answer me. He's still checking his e-mail every 15 minutes for blog groupies. He stares at the monitor and keep saying "Willow Rosenberg, where are you?". Pathetic, huh? If he's thinking what I thnk he's thinking than who's going to tell him that he isn't Willow's type? Personally, I'd rather hang out with Drusilla. We can share some bones, argue over who gets the marrow, but again I digress...

So I took it on my own to see what the jazz community is doing with the internet. Jazz musicians aren't as internet savvy as...say...indie pop bands. Every rock musician or electronic whiz with a Casio seems to have a web site. Jazz musicians are not as comfortable with promoting and presenting music on the web or so it seems. Perhaps the biggest disappointment is that established magazines like Downbeat and Jazziz do not seem interested in expanding their internet presence. Still there is some great jazz to be found if you're willing to look for it.

A good place to start is All About Jazz. Anything happening in the jazz world is going to show up there eventually. You will find a lot of well-informed writers on all aspects of jazz from traditional to avant-garde. Of special interest are the free daily downloads.One download a day for an album a day. It's a great way to make a new jazz discovery. Jazz Online is also a good place for reviews and previews but it feels more like an advertising site than a place for true exploration.

My favorite places to hang around are individual artist pages. Almost every major jazz artist has a site or two although music samples are hard to come by. If you are looking to sample music, the younger artists are better bets.

Probably the biggest name to embrace the internet is avant-garde jazz saxophonist Steve Coleman. I hesitate to mention his site as The Boss did. The site has been down often since then. But if you can get on the download page, there's at least 15 out of print albums freely available. Hey Steve! Get a bigger server, OK? Coleman's alto sax colleague , Greg Osby comes close. You can find 2 pages of live concerts. Osby and Coleman encompass the new wave of avant-garde jazz explorers.

Jazz piano great Andrew Hill has a worthwhile web site. There's lots of long excerpts showcasing Hill's pioneering style. One listen to these excerpts will send you to the record store looking for more. You'll find a full solo piano concert on the MP3 page. Unfortunately the sound is pretty bad.

One of my favorite album finds is Jimmy Greene's Brand New World which you can get free from his site. There's lot of other MP3s available too! Greene is a talented tenor saxophonist of the hard bop school. This is mainstream jazz of the soulful type. Other jazz musician who are generous with samples include Marcus Strickland, Steve Lehman, and Jason Moran, and D. D. Jackson. D. D. has my favorite single track find from the internet on his MP3 page. "Carnavale" starts out as a light little number featuring Jackson on piano and Christian Howes on electric Violin. As you start to relax to the groove, it builds until it soars into the stratosphere. It's one of the most exciting single tracks you will find anywhere.

But I saved my favorite for last, Helen Sung plays some of the tastiest piano licks you'll hear. Her recording page includes a full album, Live At The Blue Note. Try her performance of 'Willow Weep For Me" and you will be hooked. In most cases, Jazz does not translate well to the excerpt or even single track sample. Releasing a full album or live concert allows the music fan to fully appreciate the artists and their ensemble. Making the entire session free, as Sung and Strickland do, is certain to bring the jazz fan back for more and they will buy their CDs.

That concludes my rather inadequate look at jazz and the internet. I'm sure I missed a lot. Feel free to comment and tell me what I missed. I'm dying to do a part two! Now excuse me. I'm going to prepare for the Jazz Festival. I need to go see if the fire hydrants are functional.
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Feb. 3rd, 2006 @ 11:22 pm Review: Fidgital - Vintage Red
Here's a little extra review this week. I wrote it for Last.fm but I thought it was good enough to share with you dawgophiles. Enjoy!

Review: Fidgital - Vintage Red



First of all, thanks to the guys in Fidgital for placing a link to their new album, Vintage Red, on Last.fm for a limited time. Some users complained that this was spam. Nonsense! Since when is free music spam? Now if they were hawking Viagra or manhood enlargers...but let's not go there. If you grabbed it then good for you. if you didn't here's what you're missing out on.

Fidgital's style is a little hard to pin down. It is jazzy. It rocks. It's funky. If I had to lean on the fence and choose a style I would say "nu-jazz" or "acid Jazz" but, frankly, they're all over the place in a good way. "True Ambition" starts as a swing revival track, switchs to a funky Shaft-like rhythm, then goes back and forth. It's a great track with some really cool drum work. Give it to me straight, guys. You've been listening to "Sing, Sing, Sing" with Gene Krupa, haven't you?

But next comes "My Life as a Million Billionaire", a fast syncopated electronic number with a vocal reminiscent of 80s Bowie or The Tubes. This is followed by a swinging latin jazz influenced number "El Parisidio".

I could go track by track to show the myriad of styles this CD has but I won't. I will bring your attention to some other good cuts; A Stevie Wonder influenced "You got It Going On", a somewhat bizarre but dance-inducing "Kill Me Don't Kill Me", a exquisitely soulful "Ground Zero", and a sitar laden "One Shot At Heaven" which is a pretty, almost symphonic piece awashed in a CD of mostly barn-burners.

In summary, I enjoyed this album. Fidgital shows a good understanding and respect for many genres yet is able to blend them into their music without sounding overblown and forced. I especially like Ryan Slemko's vocals that pushes the envelope but never goes off the edge. Yeah, I got the album for free but I would pay for this.
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Feb. 1st, 2006 @ 12:16 am Review: Sid Peacock and Surge - Live In Birmingham


I think it was Frank Zappa who said "Jazz isn't dead. It just smells funny". Zappa was always saying weird stuff like that and you never were quite sure whether he was serious. However he had a point. Jazz has become too serious for its own good. I was watching Wynton Marsalis on TV the other day talking about the legacy of Jazz. Marsalis is an important jazz musician and scholar, but for God's sake! Throw a pie into that guy's face, will you? Jazz is not a sober academic affair. Listen to Armstrong, Ellington, Parker or any of the innovators. Jazz was a joyous event for them. Jazz was about passion, laughter, living in the moment. Even when it's densely orchestrated as in the case of Charles Mingus, Ellington and Zappa, it sings of spontaneity and passion. When Zappa and Miles Davis essentially created Jazz-Rock and Fusion in the 70s, they attempted to open Jazz to a new region of sounds and new ways to celebrate with music.

Unfortunately they were not totally successful. Commercial music companies and musicians alike were quick in learning how to homogenize Jazz-Rock for quick sells. Fusion became the new Muzak.. Artists like Spyro Gyra and Kenny G have as much to do with furthering Jazz as Madonna has to do with promoting celibacy. Fortunately, Davis and Zappa didn't fail either. There were enough creative musicians willing to take both Jazz and Rock to new places. John Zorn was one of them. His avant-garde style blended various musics into a virtual cornucopia of sounds, never staying still and always exploring. In order to do this he had to start his own label, Tzadik. In these days true jazz innovators never get far on a major label. Are there still adventurous Jazz musicians willing to buck the trend and take this lonely road?

The answer is yes. Sid Peacock is very much in the style of John Zorn and even Zappa. His music is clearly Jazz related but he draws from all sorts of styles never afraid to mix and match. You are never really sure where his compositions will take you, changing from jazz to rock to classic melodies to noise in moments. He peppers his music with socially minded spoken word, spurts of emotional improvisations, and humor...Lots of humor. But an arranger and composer needs an ensemble that understands and can adequately represent their vision. Peacock has Surge, an 11 piece orchestra that is clearly on the same wavelength.

Sid Peacock & Surge's new CD, Live In Birmingham was recorded in December of 2004 and has six tracks of high energy jazz. "Anarcho Zen Doubter" is fairly representative of Peacock's style and his band's mastery of the music. It starts with a manic but mainstream theme carried by flute and saxophone. The band weaves in and out of the melody until it breaks down into an chaotic race led by tenor saxist Ed Johnstone. The melody all but disappears and a almost classical motif by pianist Steve Troman appears punctuated by noise, squawks, and.. a jew-harp? A spoken narration by Peacock lends a sharp politically satiric note and then slides into a nice bluesy guitar solo by Frank Moon. Then just as quickly, it's back to the main theme and out. If this seems a lot for a 15 minutes recording it is. But it all moves effortlessly thanks to Peacock's direction.

Of the other tracks, "You Can't Buy Everything Forever" is a cute song ridiculing the modern consumerist culture and features some nice soloing by Johnstone on tenor and Mike Fletcher on Soprano sax. "Intergalactic Fly By" is a soaring jazz number with a finger curling improvisation by Troman and a Ray Anderson-like trombone outing from Simon Lesley. "Surge Psilocybin " is possibly the most avant-garde piece and presents more great improvisation with a chance for trumpeter Phil Cardwell to show his not insubstantial chops. "The Pedalers" feature Flautist Max Griffings and Violinist Ruth Angell blending a classical sound with Mingus influenced backing from the rest of the ensemble. Angell has one of the prettiest solos in the album and proves my conviction that the world needs more good Jazz violinists. The albums ends with "Wee Green Men", again exhibiting a masterful ability by the band to go from mainstream jazz to free playing and back. They even throw in a little Celtic jig for good measure! All of this is anchored by a rhythm section of bassist Ryan Trebilcock and Drummer Doug Hough that doesn't miss a beat in Peacock's ever changing soundscape;

While there is plenty of great solo improvisation, the album is primarily a triumph of virtuoso ensemble playing. Certainly Peacock's excellent arrangements and direction remain the real star of the show. His satiric but intense political narrations may put some people off but it also shows the passion that Peacock puts into his art. This is an album that keeps the listener wondering where it going to end up. In an age of mass produced cookie cutter music, that is cause for celebration and reason to highly recommend this CD.
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Jan. 18th, 2006 @ 10:06 pm How To Sing The Blues
Today I'm going to teach you how to sing the blues, But first, A public service message. It appears The Boss is getting into the blogging thing. Remember a few weeks back I told you about Free Albums Galore? Well, Luke decided to chuck the whole thing in. He said he needed to give priority to more important things in his life but, between you and me, I think the blog wasn't bringing in the babes like he thought it would. So much for blog groupies! After all, just try to use a pick-up line like, "Would you like to see my blog?" It's likely to get you thrown in the can with some guy named Killer who really does want to see your blog! But again I digress..

Anyhow, The Boss took over Free Albums Galore and he's trying hard to keep the great quality of music just like Luke did. But the poor kid can't make up his mind! One day. it's classical, next day it's jazz, and the next is rock. "Stick with something, Boss." I tell him "You're changing genres more than Oprah changes her dress size. " But he doesn't listen. He mumbles something about variety and quality. I guess he knows what he's doing. Check it out!

Last time we decided anyone can sing the blues. Well, not so fast, dude! There are some requirements. Here's something sent to me that might explain it. I tried to find out who wrote it but it's seems to be atributed to a half dozen people. let's just call it anonymous...

How To Sing The Blues: A Primer

1. Most Blues begin, "Woke up this morning."

2. "I got a good woman" is a bad way to begin the Blues, 'less you stick something nasty in the next line, like " I got a good woman, with the meanest face in town."

3. The Blues is simple. After you get the first line right, repeat it. Then find something that rhymes ... sort of: "Got a good woman - with the meanest face in town. Got teeth like Margaret Thatcher - and she weigh 500 pound."

4. The Blues are not about choice. You stuck in a ditch, you stuck in a ditch; ain't no way out.

5. Blues cars: Chevys and Cadillacs and broken-down trucks. Blues don't travel in Volvos, BMWs, or Sport Utility Vehicles. Most Blues transportation is a Greyhound bus or a southbound train. Jet aircraft an' state-sponsored motor pools ain't even in the running. Walkin' plays a major part in the blues lifestyle. So does fixin' to die.

6. Teenagers can't sing the Blues. They ain't fixin' to die yet. Adults sing the Blues. In Blues, " adulthood" means being old enough to get the electric chair if you shoot a man in Memphis.

7. Blues can take place in New York City but not in Hawaii or any place in Canada. Hard times in St. Paul or Tucson is just depression. Chicago, St. Louis, and Kansas City still the best places to have the Blues. You cannot have the blues in any place that don't get rain.

8. A man with male pattern baldness ain't the blues. A woman with male pattern baldness is. Breaking your leg cuz you skiing is not the blues. Breaking your leg cuz an alligator be chomping on it is.

9. You can't have no Blues in an office or a shopping mall. The lighting is wrong. Go outside to the parking lot or sit by the dumpster.

10. Good places for the Blues:

a. highway
b. jailhouse
c. empty bed
d. bottom of a whiskey glass

Bad places:

a. Ashrams
b. gallery openings
c. Ivy League institutions
d. golf courses

11. No one will believe it's the Blues if you wear a suit, 'less you happen to be an old ethnic person, and you slept in it.

12. Do you have the right to sing the Blues? Yes, if:

a. you're older than dirt
b. you're blind
c. you shot a man in Memphis
d. you can't be satisfied

No, if:

a. you have all your teeth
b. you were once blind but now can see
c. the man in Memphis lived.
d. you have a retirement plan or trust fund.

13. Blues is not a matter of color. It's a matter of bad luck. Tiger Woods cannot sing the blues. Gary Coleman could. Ugly white people also got a leg up on the blues.

14. If you ask for water and Baby give you gasoline, it's the Blues.

Other acceptable Blues beverages are:

a. wine
b. whiskey or bourbon
c. muddy water
d. black coffee

The following are NOT Blues beverages:

a. mixed drinks
b. kosher wine
c. Snapple
d. sparkling water

15. If it occurs in a cheap motel or a shotgun shack, it's a Blues death. Stabbed in the back by a jealous lover is another Blues way to die. So is the electric chair, substance abuse, and dying lonely on a broken down cot. You can't have a Blues death if you die during a tennis match or getting liposuction.

16. Some Blues names for women:

a. Sadie
b. Big Mama
c. Bessie
d. Fat River Dumpling

17. Some Blues names for men:

a. Joe
b. Willie
c. Little Willie
d. Big Willie

18. Persons with names like Sierra, Sequoia, Auburn, and Rainbow can't sing the Blues no matter how many men they shoot in Memphis.

19. Make your own Blues name (starter kit):

a. name of physical infirmity (Blind, Cripple, Lame, etc.)
b. first name (see above) plus name of fruit (Lemon, Lime, Kiwi,etc.)
c. last name of President (Jefferson, Johnson, Fillmore, etc.)

For example, Blind Lime Jefferson, or Cripple Kiwi Fillmore, etc.

(Well, maybe not "Kiwi.")

20. I don't care how tragic your life: you own a computer, you cannot sing the blues. You best destroy it. Fire, a spilled bottle of Mad Dog, or get out a shotgun. I don't care.

21. Obituary on a Blues man's grave site:

"Didn't wake up this Morning"
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