Wednesday, March 27, 2024

Colette Michaan: “Earth Rebirth” (2023) CD Review

Colette Michaan is a flutist based in New York. She is of Egyptian and Syrian heritage, and she finds inspiration for her music in different cultures and places. Though she has been performing for several decades, she did not release her first album as band leader until 2004. That album, First Cause, contained some original material as well as covers, and was followed by Querencia in 2010, Incarnate Encarna in 2014, and Heaven And Earth – Cielo Y Tierra in 2017. Her newest album, Earth Rebirth, released late last year, features mostly covers, along with an improvised piece. Joining her on this album are Leo Genovese on piano and keyboards, John Benitez on acoustic bass, Luisito Quintero on timbales, and Yusnier Sanchez Bustamante on congas and cajon, with vocalist Mireya Ramos performing on two tracks.

The album opens with that group improvisation, “Earth Rebirth,” the title track. Immediately we are transported to a distant place, and perhaps time, when nature was still beloved and feared for its power. We can feel that power rumbling even as Colette Michaan communicates with nature with her flute, calling to it while also being a part of it. There is something fierce here, and something beautiful. Though we would be foolish to try to control nature’s power, we find we are able to join it, to engage in this primal dance. And there is a sense of urgency, as if this great source of power itself has something to fear or is in danger. And of course it is, isn’t it?  But the dance continues, and the world opens up to usher in something new. That’s followed by a cover of “Campiña,” written by Orlando Valle and recorded by Afro Cuban Jazz Project. John Benitez starts this rendition on bass, and quickly a cool rhythm is established. When Colette Michaan comes in on flute, the track takes on that familiar sound and vibe, and everything comes together. This is one of the tracks to feature Mireya Ramos on vocals, and she delivers an excellent performance, as you’d expect from the award-winning vocalist and founder of Flor De Toloache. This track also features some fantastic work on drums and percussion.

Colette Michaan’s rendition of “El Raton” has an interesting opening, particularly the work on percussion. That rhythm keeps us on our toes, keeps us engaged. There are also some unexpected touches on keys, while the flute has a soothing quality. The piece then builds from there. I love that repeated theme on flute in the middle, and the piano lead toward the end. And just before the track concludes, Mireya Ramos comes in on vocals. “El Raton” was written by Cheo Feliciano and Nick Jimenez. This arrangement is by John Benitez. That’s followed by “Ni Contigo Ni Sin Ti,” written by Jose Manuel Ortega Heredia. This track too has a compelling opening, setting us in some mysterious land. It then suddenly kicks in, taking on a prominent rhythm, one that invites us to dance. There is a wonderful joy to the playing. There are even hand-claps. This track features more impressive work on piano, plus some fantastic work on bass. It is the flute that is the voice that carries us through, that speaks to us, engages us.

Colette Michaan then turns to a piece by Charles Mingus, “Reincarnation Of A Lovebird.” There is an improvised feel to the beginning of the track, like the world waking up, taking a look around, stretching its wings. It then settles into that great rhythm. There is a magical moment nearly three minutes in when the piano and flute slow down and take on a rather sweet tone, before the track returns to that rhythm. That isn’t the only hint of magic, however. There is something of that feel running through the piece, along with a good deal of cheer, particularly in the piano work and of course in the flute, especially toward the end. That’s one of my favorite sections of the entire album. The album then concludes with a cover of “Throw It Away,” written by Abbey Lincoln. This is a song that Colette Michaan also included on her 2014 album Incarnate Encarna. This new version has a more exciting opening, and there is more going on with the rhythm, so, yes, I prefer this track. I love the way her flute soars during her lead.

CD Track List

  1. Earth Rebirth
  2. Campiña
  3. El Raton
  4. Ni Contigo Ni Sin Ti
  5. Reincarnation Of A Lovebird
  6. Throw It Away

Earth Rebirth was released on October 15, 2023.

Tuesday, March 26, 2024

Hannah Gill: “Everybody Loves A Lover” (2023) CD Review

Jazz vocalist and composer Hannah Gill takes us to another time with her absolutely delightful debut full-length album, Everybody Loves A Lover, on which she covers some classic numbers from the first half of the twentieth century. It’s interesting that she has chosen to do all covers on this disc, for her EPs have featured some strong original material. But she does such a phenomenal job with these songs that we are more than satisfied with her choices. Joining her on this album are Danny Jonokuchi on trumpet, Ryan Weisheit on saxophone and clarinet, Sam Chess on trombone, Greg Ruggerio on guitar, Gordon Webster on piano, Tal Ronen on bass, and Ben Zweig on drums.

Hannah Gill opens the album with “Moonlight Saving Time,” a song composed by Harry Richman and Irving Kahal, and first recorded in the early 1930s. Ruth Etting did one of the great early versions of this song. Later Blossom Dearie gave her own delicious rendition, and Hannah Gill seems inspired more by the Blossom Dearie version, delivering a lively, swinging rendition. The band sets the tone before she comes in, placing us in those days of swinging nightclubs. When she does come in, approximately a minute into the track, the focus is then on her voice. And what a voice! One that is cheerful, warm, bright and beautiful. This track also features some wonderful work on piano, and a fantastic moment toward the end when the horns cut loose along with the drums. I wish it went on a little longer. “Moonlight Saving Time” is followed by “You Were Only Fooling.” This is a song that Patsy Cline and Connie Francis covered, but before those versions, it was recorded by Blue Barron And His Orchestra. Hannah Gill gives us an excellent rendition, this track contains some great stuff on drums, and from the brass section. But again, it is her voice that completely sells it. There is no sense that she is trying to imitate a sound, trying to recreate something from the past. It all just lives within her, and comes out naturally.

Apparently Hannah Gill is a big fan of Ella Fitzgerald’s work. “I Fell In Love With A Dream” is a song that Fitzgerald released on a single somewhat early in her career, and is one that Gill covers on this release. Her approach is warm and hopeful, her voice making it feel like all of life could be a dream. There is also some nice work on guitar, both at the beginning and again halfway through. That’s followed by “You’re Getting To Be A Habit With Me,” this version beginning on bass. It’s a very cool opening. Hannah Gill sounds so happy to find she’s addicted to the person’s charms. And aren’t we all, when it happens? Is there anything better than surrendering to that feeling? The horns seem to take her across the dance floor, moving like a dream. You get the sense that even when that special someone isn’t with her, she is able to dance with him all the same, with the idea of him, and that’s a feeling that keeps all of us going.

Hannah Gill gives us a wonderful rendition of “Put ‘Em In A Box, Tie ‘Em With A Ribbon (And Throw ‘Em In The Deep Blue Sea),” here listed simply as “Put ‘Em In A Box.” This track features delightful stuff on piano, and a rhythm that will have you at least swaying, if not dancing. This music is just so damn good. Doris Day recorded this song, and she had a hit with the song that follows, “Everybody Loves A Lover,” the album’s title track. This rendition by Hannah Gill comes on strong, with a great opening burst of energy, and featuring some excellent work on drums. This track moves at a good clip. There is such joy in Hannah Gill’s delivery. There is even truth heard in the line, “And I love everybody.” Ah, wouldn’t it be great to feel that way? Perhaps if we can keep music like this playing at all times, it could happen. I absolutely love this rendition. It’s one to get you dancing and shaking. There is something delightfully loose and carefree about it. Check out that section with piano, bass and drums. Ah, this is what it is all about.

Hannah Gill then slows things down with “Lullaby Of The Leaves,” delivering a gorgeous vocal performance. And the piano work on this track has a dreamlike vibe at moments. “And let me dream a dream or two/Sing me to sleep, lullaby of the leaves.” With her voice sending me to bed, I am excited to see just what those dreams will be. Approximately halfway through the track, there is a really good lead on bass, followed by some more wonderful work on piano. And let that horn work its charms on you. There is no way you can keep from falling under this track’s spell. That’s followed by “What Can I Say After I Say I’m Sorry,” a song from the mid-1920s, when it was recorded by Josephine Baker. Gordon Webster begins this one on piano. This track contains yet another strong vocal performance. “What can I do to prove it to you that I’m sorry?” Oh, who could do anything but accept her apology willingly, eagerly? And then take up the dance where you left off. That’s what this rendition seems to encourage. A dance will certainly get any two people past the troublesome spots, no problem. This track features some really nice work on clarinet.

The Nat King Cole Trio released an excellent rendition of “This Will Make You Laugh” in 1941. Hannah Gill delivers a wonderful rendition of it on this album, each member of the brass section getting a turn to shine. That’s followed by another song that Nat King Cole recorded, “Autumn Leaves.” Hannah Gill’s version begins with some beautiful, moving work on piano, and then it suddenly, and surprisingly, kicks in. Yes, it becomes a swinging and cheerful rendition, and it features a good lead on guitar. She concludes the album with “It’s A Sin To Tell A Lie,” delivering a lively, hopping number. The band is totally grooving and swinging here. There is even a short drum solo. I love it. This is another of this disc’s gems. What a remarkable debut album! I can’t wait to hear whatever Hannah Gill does next.

CD Track List

  1. Moonlight Saving Time
  2. You Were Only Fooling
  3. I Fell In Love With A Dream
  4. You’re Getting To Be A Habit With Me
  5. Put ‘Em In A Box
  6. Everybody Loves A Lover
  7. Lullaby Of The Leaves
  8. What Can I Say After I Say I’m Sorry
  9. This Will Make You Laugh
  10. Autumn Leaves
  11. It’s A Sin To Tell A Lie

Everybody Loves A Lover was released on September 8, 2023 on Turtle Bay Records.

Monday, March 25, 2024

New Riders Of The Purple Sage: “Hempsteader: Live At The Calderone Concert Hall” (2024) CD Review

New Riders Of The Purple Sage are a band that in my mind will be forever tied to the Grateful Dead, because of Jerry Garcia’s early involvement, and because the two bands shared a lot of bills together in the 1970s. And like the Dead, NRPS has focused on their live performances. In recent years, they’ve put out a good number of archival concert recordings (though not nearly as many as the Grateful Dead). In 2022, they released Lyceum ’72, containing a show from May of 1972. The band’s new release contains a show from 1976 the band performed in Hempstead, New York. There had been a personnel change since 1972, with Stephen Love now on bass and vocals (and actually Skip Battin had been on bass in between Dave Torbert and Stephen Love). At this show, the band focused on material from New Riders, playing all but one of the songs from it. New Riders was the first album the band released through MCA, after leaving Columbia. Interestingly, the one song they don’t play from it at this show is the album’s sole original number. Hempsteader: Live At The Calderone Concert Hall contains seventy-nine minutes of music on one disc, nearly the complete show (missing just one song from the set, plus the encore).

The band kicks off the show with a great rendition of “Panama Red,” a song written by Peter Rowan, and one that New Riders included on their 1973 record The Adventures Of Panama Red. In 1975, the song was included on the self-titled album from Old & In The Way, a bluegrass band that featured Peter Rowan and Jerry Garcia (through released in 1975, it was recorded in 1973). Here the track includes a brief introduction before the band gets cooking. This is a song that New Riders chose to kick off a lot of their 1976 shows, and it’s clear why that was the case. The energy is high, and the song is wonderful. It features some excellent stuff from Buddy Cage on pedal steel. They keep things moving with “Little Old Lady,” which was written by Richard Wilbur and included on the 1975 NRPS album Oh, What A Mighty Time. This track is a whole lot of fun, with a bit of yodeling on the chorus and a lot more toward the end, and the band racing along.

They then get into material from the 1976 album New Riders, beginning with “Honky Tonkin’ (I Guess I Done Me Some).” “Hey, we just made a brand new record for MCA, and this is one of the tunes that’s on it,” they tell the crowd. This one has a cool country blues vibe, and features some good work on guitar. It’s followed by “Fifteen Days Under The Hood,” which was the lead track from New Riders. It was written by Jack Tempchin, and is a catchy and rocking country number. “Well, I’m awful hungry, I wish I had some beans/Fifteen days under the hood/I spent all but a dollar on Valvoline/Fifteen days under the hood.” The crowd really responds to that song. On the record, that song is followed by “Annie May,” and it is here as well (though we can first hear someone shouting out a request for “Louisiana Lady”). It’s another fun number, in large part because of its subject. “Now Annie May don’t ask me if I love her/But in a way, well,  I suppose I do/She’s not the kind you bring home to meet your mother/Oh, but in time she kind of grows on you.”

The band then goes back to the first album for “Henry,” and an introduction is included, with a dedication to anyone in the audience who smuggles dope for a living until pot becomes legal. Hey, it took a while, but here we are. Some things have certainly gotten worse since 1976, but one improvement is the legalization of pot, at least in all the places that count. John Dawson wrote this one, and, as always, it’s a highlight. The band delivers a great rendition, energizing the crowd. “Let’s take that energy and vote all those silly laws out of the way.” They follow that with another song from New Riders, “Don’t Put Her Down,” written by Hazel Dickens. This track features some nice harmonies, and more good work on pedal steel. Then from the 1974 LP Brujo, they play “Ashes Of Love,” picking up the pace and the energy again.

Well, that woman in the audience doesn’t get her wish for “Louisiana Lady.” But the band does deliver “Portland Woman,” which was also on that debut record. And as soon as the first line is delivered, the crowd cheers. This song has a sweet vibe. And it is here that the band stretches out and jams. They kind of ease into the jam, and let the energy build, and the track features some strong work on drums as well as guitar. Then when the song seems to be reaching its conclusion, the guitars continue in another direction, and then after a brief pause, the song comes back with a delicious force. This track is one of the disc’s highlights. It is after this song that the band played “I Don’t Know You,” the one song from the set missing from this disc. What follows is “Whiskey,” a song from Gypsy Cowboy. This is a good choice for your road trip playlist. They go from whiskey to beer, as one does, following “Whiskey” with “She’s Looking Better Every Beer,” another song from New Riders. In introducing the song, they warn the crowd, “This could happen to you.” This is a delightful number. “Her hair is soft and shiny now, her eyes are bright and clear/How could it be I didn’t notice her when I first came in here/Ah, she’s looking better every beer.”

“Teardrops In My Eyes” was included on The Adventures Of Panama Red, and is an energetic number coming at us with a wonderful bluegrass pace. They follow that with “I Heard You’ve Been Layin’ My Old Lady,” a song from Oh, What A Mighty Time, the band’s final album on Columbia. It’s a rather playful song written by Rusty Wier. The band then returns to material from the new album, playing “The Swimming Song,” which was written by Loudon Wainwright III and is great fun. This track should put you in a good mood. It’s another of the highlights. Also from that album comes “You Never Can Tell,” the Chuck Berry song. These guys have a good time with it, jamming on it a bit. They follow that with a cover of Otis Redding’s “Hard To Handle,” which was also included on New Riders. This is a song that I first heard on a Grateful Dead live album. NRPS deliver a strong rendition, featuring some good work on guitar. They then get the crowd clapping at the beginning of “Glendale Train,” one of my favorite New Riders songs (and one that gets in my head every time I drive into Glendale). This is a fantastic rendition, yet another highlight of this release. The set wraps up with an energetic cover of “Dead Flowers,” a song the band included on New Riders and also on the 1974 live album Home, Home On The Road.

CD Track List

  1. Panama Red
  2. Little Old Lady
  3. Honky Tonkin’ (I Guess I Done Me Some)
  4. Fifteen Days Under The Hood
  5. Annie May
  6. Henry
  7. Don’t Put Her Down
  8. Ashes Of Love
  9. Portland Woman
  10. Whiskey
  11. She’s Looking Better Every Beer
  12. Teardrops In My Eyes
  13. I Heard You’ve Been Layin’ My Old Lady
  14. The Swimming Song
  15. You Never Can Tell
  16. Hard To Handle
  17. Glendale Train
  18. Dead Flowers

Hempsteader: Live At The Calderone Concert Hall is scheduled to be released on April 19, 2024 through Omnivore Recordings.

Sunday, March 24, 2024

Tom Rush: “Gardens Old, Flowers New” (2024) CD Review

In the 1980s, when I was in my teens and beginning to get heavily into folk music, one name that came up over and over again was Tom Rush. Many of the musicians that I was seeing in concert were big fans of his work, and had tremendous respect for him, and so, eager as I have always been to hear great music, I began digging into his output. At the time, he was known in part for delivering the work of other songwriters, playing traditional numbers and covering songs by Woody Guthrie, and then Joni Mitchell and James Taylor and Jackson Browne, among others. But he also included some of his own material on his records, songs like “No Regrets” and “Starlight” and “Wind On The Water,” and these were among my favorites. Tom Rush has a knack for interpreting other artists’ material, no question, but he is also one heck of talented songwriter himself. And on his new album, Gardens Old, Flowers New, he delivers almost entirely original songs. There is just one exception, and even on that one he has contributed new lyrics. Tom Rush plays acoustic guitar on these tracks, and is joined by some incredible musicians and singers, including Matt Nakoa on keyboards, guitar, slide trombone, percussion and backing vocals (Nakoa also produced the album); Mike Reilly on drums, percussion and backing vocals; Craig Aikin on bass; Abbie Gardner (from Red Molly) on dobro and backing vocals; Joe Nerney on saxophone, mouth harp, pennywhistle and backing vocals; Monica Rizzio on fiddle and backing vocals; Seth Glier on accordion, harmonium and backing vocals; Dave Eggar on cello; and Mikhail Pivovarov on baritone guitar, hurdy-gurdy and percussion.

Tom Rush opens the new album with “Sailing,” immediately establishing a pleasant and hopeful sound. Here he is urging someone (perhaps us) to go sailing, repeating the line “Come on, let’s go sailing” early on. There is something appealing about being on the water, or even near the water (I could never reside more than a thirty-minute drive from a body of water), and this song captures that feeling. “We’ll steer by star, play an old guitar/Come on, let’s go sailing.” He then offers this wonderful bit of advice: “And don’t you hide from love, child, though it may bring you sorrow/Don’t you hide from love, though it can cause you pain/We’ll pay to yesterday what we’ve borrowed from tomorrow/In tears for love that never was and, oh, what might have been.” And there is a beautiful Celtic feel to the brief instrumental sections, uplifting and glorious. Everything about this song makes me feel good about the world, about humanity. Don’t we all need that sort of feeling? If it doesn’t come from other realms, we can get it from music. Tom Rush continues to raise our spirits with “Glory Road.” The guitar work that begins this track has a delightful energy to it, rousing us, getting us to our feet. “You better get on home/You’ve been gone too long/At fourteen years I left my home, the moon was in the trees/Mama’s voice was in my ears calling after me.” It’s a song of rambling, and of going home, a song of life, really. “I ain’t a man to worry much/I very seldom pray/I pray right now I’ll see my home/When springtime passes by this time/Springtime comes that way.”

“Gimme Some Of It” is the album’s sole cover. It’s a traditional blues song titled “Custard Pie,” but, as I mentioned, with some new lyrics (and a new title) by Tom Rush. And it’s fun, featuring some delicious work on keys and a catchy rhythm. The lines “The billionaires are telling old John Q/We need your money more than you/We’ve got to have some of it” make me think of a certain bloated cretin who claims to be a billionaire but keeps taking money from his sad followers. Tom Rush delivers an excellent vocal performance, and this track also features some great stuff on harmonica. He stays in the blues realm with “Nothin’ But A Man,” another highlight of the album. I love the verse about the musical instruments: “If I was a guitar, I’d play just for you/I was a bass drum, I’d go boom boom boom/I was a slide trombone, you could play me all night long/But I ain’t nothing but a man to love you, honey.” I love the cheer in his delivery, and I love that lead on saxophone. It’s a sweet song, with a playful and joyful vibe. “I’m doing the best I can/Working night and working day/Trying to steal your heart away/Working day and working night/I’ll work until I get it right/So many things I’d like to be/To show you what you mean to me.”

There is some beautiful work on guitar at the beginning of “If You Will Love Me.” This track features a wonderful, heartfelt vocal performance. “If you will stay/I will be your month of May/And I will love you too/I already do.” I especially love the way he delivers that last line, almost as spoken word. From that delivery, we know his love is fact. So good! This song almost has me in tears. It leads straight into “Lullaby In E,” which also features some excellent and moving guitar work. This is the album’s only instrumental track. It is followed by “Toy Boat Song.” This is one that has been around for a while. He wrote it when his kids were young. The song begins by taking us to a scene from childhood, his friend and he making a boat and letting it go on a stream. And then he addresses his children: “Now may you sail as you were made to/May rocks and rapids set you free/And far away on a distant day/You may sail the sea.” This song features some gorgeous work on cello. “We made a child, my love and I/And we did teach him how to dream/Now where he’s gone we cannot follow.” This song did get the tears rolling. It’s beautiful.

And it’s one more dance before we’re done/And if the ladies will allow/If the ladies will allow, we’ll dance ‘til dawn,” Tom Rush sings near the beginning of “One More Time Around The Sun.” This track features some good backing vocal work, and it’s a song that seems to invite us to sing along too, the way a good folk song does. “Let’s raise a glass and dance this dance together/Let’s raise a glass to them that’s gone and wish ‘em ‘fare thee well.’” And the lyrics mention Boston, making me think of home. There is even a reference to a childhood song. Keep dancing, folks. That’s followed by “It All Comes Down To Love,” a lively, upbeat number. Its title speaks truth. Love is what it’s all about. What else are we doing here? “Don’t matter who you are/Don’t matter where you go/Don’t matter how much stuff you got/It all comes down love.” This track features some good work on guitar. And hey, around the two and a half minute mark, does it remind you briefly of Kenny Loggins’ “Footloose”? Then “Siena’s Song” has a sweet vibe. It’s a song of innocence, of childhood, and it contains the album’s title in its lyrics. “And until then, my darling, dance and dream.” Dancing is a recurring images on this album. “Lots of music, love and laughter,” Tom Rush sings at one point on this track. That is exactly what I hope for everyone I know.

I think I remember my father/I think that he sailed on the sea,” Tom Rush sings in “The Harbor.” Sailing is another recurring image in this material, and this is another beautiful song. “I think remember my children/I think there were two, maybe three/But won’t you tell me your name/You’ve been very kind/To come spend this time with me.” And just as my tears begin to fall, he sings, “Oh, I can see you’ve been crying.” This track contains some sweet backing vocal work. That’s followed by “To See My Baby Smile.” “The simple things are hard to say,” he sings at one point, but he clearly has no trouble saying anything he wishes to convey, as these songs attest to. “It’s been a long and lonely day/It’s nothing without you/And the one and only thing/That makes it all worthwhile/To see my baby smile.” This song also contains the album’s title in its lyrics (yes, there are two songs that make use of that line). Then at the beginning of “Won’t Be Back At All” Tom Rush sings, “The only way from here is up/I’ve run clean out of down,” and I love it. “I might go way out west, maybe way down east next fall/And all I know is wherever I go, I won’t be back at all.” There is some gentle, pretty work on keys. One thing I love about this music is that it comes from the better side of humanity, reminding us of what we can be. The album concludes with “I Quit,” a bluesy delight with a good rhythm. Sometimes we have to leave. “That’s it, I quit/I’m out of here, I’m gone/Out the door and down the road/I do believe I’m done.” This track contains some wonderful stuff on horns and keys that give the song something of a party atmosphere.

CD Track List

  1. Sailing
  2. Glory Road
  3. Gimme Some Of It
  4. Nothin’ But A Man
  5. If You Will Love Me
  6. Lullaby In E
  7. Toy Boat Song
  8. One More Time Around The Sun
  9. It All Comes Down To Love
  10. Siena’s Song
  11. The Harbor
  12. To See My Baby Smile
  13. Won’t Be Back At All
  14. I Quit

Gardens Old, Flowers New was released on March 1, 2024 through Appleseed Recordings.