Cassandra Wilson (vocals, multi-instrumentalist; b. 1955) Silver Pony (Blue Note; 2010)
Marvin Sewell (guitar) Reginald Veal (bass) Herlin Riley (drums) Jonathan Batiste (piano) Lekan Babalola (percusssion) Ravi Coltrane (sax) Helen Gillet (cello) John Legend (guest vocals) Luke Laird (guitar) Brandon Ross (guitar)
Cassandra Wilson is that rare jazz vocalist who can create a distinct atmosphere, aura and all around level of creativity and originality that stands high above her current contemporaries. Betty Carter, Nina Simone, Carmen McCrae are some of my favourite examples of the real jazz chanteuse who delivered their own material in addition to reimagining standards across various genres. Cassandra Wilson is definitely in this category.
For the last decade, so called "jazz singers" have carved out territory utilizing jazz/pop material with mixed results. Cassandra Wilson has been on scene for well over 30 years and continues to show that she has an unmatched manner in constructing material from various disparate forms.
She gained notoriety during he stint with the funk-jazz, M-Base Collective lead by Steve Coleman in the 80s. She finally branched out on her own in the late 80s with a series of albums mainly focused on jazz standards (on the JMT and Winter To Winter labels) but with her distinct spin. She finally broke out to the masses with her releases on Blue Note Records, most importantly New Moon Daughter (Blue Note; 1995) which won a Grammy.
Her deep vocals float lovingly and give an intense introspective feeling to her material. That delivery along with her unique arrangements is what makes every album delight to experience. That doesn't change on the new album, Silver Pony (Blue Note), an album rich in tradition of her Mississippi blues roots but with folksy jazz sensibilities. The album title (and cover art) comes from a childhood experience of not being afraid of getting on top of a pony to have her picture taken. The fearlessness continues on the direction of Silver Pony.
"Went Down To St. James Infirmary" a somewhat blues standard, Wilson turns it into a funky homage thanks to some great guitar work from Marvin Sewell. The self-penned "Beneath The Silver Moon" is another example of the introspection that Wilson can conjure in the listener. This passion-piece is a lovers delight and meant to stir the desire of the soul. The vocal interplay that Wilson has with guest saxophonist Ravi Coltrane is sublime.
"Saddle Up My Pony" sees Cassandra Wilson reaching deep into the blues vault of the great and under-rated Charles Patton. This journeyman's songs and Wilson takes you on that journey with ease and beauty that only she can do. The musicianship and quality of material throughout Silver Pony is superb and you forget that this is "categorized" as a jazz record. But under the direction of Cassandra Wilson is more world music. Exploring the heart and the soul and music relation to it. Jazz is just the base point for Wilson catapult from.
The "funky drummer" moment as I like to call it, happens midway through Silver Pony, with "Forty Days And Forty Nights" another blues tune (made famous by Muddy Waters) in which percussion, drum and guitar work led the proceedings by Lekan Babalola, Herlin Riley and Sewell respectively. This time with a rich, infectious rhythms that take this blues piece in a brave new direction. "Blackbird", an under appreciated Beatles song (if you're a fair-weathered Beatles fan) from The White Album, is fully transformed under Wilson's direction from folksy acoustic to lovingly lounge jazz burner.
Now, I haven't to admit as I did to a friend recently, I haven't kept up with most of Cassandra Wilson material of the last few years. I have heard tracks here and there but I hadn't sat down with an album until now. And I'm actually glad I did. Silver Pony is all the reason I'd got into Cassanda Wilson in the first place. The adventure. The surprise. The voice. Silver Pony is a great record and actually a nice place to start for anyone who hasn't listened to Cassandra Wilson before.
A lot people have probably seen this video but I think it serves as perfect example of Wilson beauty and originality.
The Green Hornet (Extra Special Edition)
Billy May Harkit Records
Originally a radio show, The Green Hornet made the transition to TV in the wake of the super successful Batman series. The Green Hornetonly lasted one season ('66), it launched Bruce Lee's career and features the swinging sounds of big band legend Billy May.
To create the signature theme music May worked closely with trumpeter Al Hirt, adapting Rimsky-Korsakov's "Flight of the Bumblebee." The relentless pace is perfect for the action-packed show. Naturally, the track is very brassy, but the sonorities have an otherworldly perhaps Oriental tonality that may come from harmonicas or muted brass.
Other action-oriented tracks include the crime jazz pounder "Horneted House," the blistering "Activate the Scanner" and "Kato," an Oriental blues swinger. More woozy brass and strange sonorities are prevalent on the lounge number "Four Hornets." Other tracks, like "Casey," "Do the Hornet" and "Black Beauty" are pleasant enough, but are conventional in comparison to the aforementioned highlights.
The Green Hornet soundtrack has appeared on CD courtesy of RFO in the U.S. and Max and JBXL in Japan. Harkit's first version, released a few years ago, contained much of the core material — 11 tracks with little thematic repetition.
The "extra special edition" reviewed here adds several bonus tracks, including Al Hirt's hit single of the theme and versions of "Flight of the Bumble Bee," which was used for the original radio show. In addition, there is an excerpt from a '40s radio show and a complete specially adapted '60s radio show episode. The bonus tracks round out the original program nicely, adding conceptual depth and listening pleasure.
Harkit has done a good job with the liner notes, explaining the show's place in history and May's reputation as one of Frank Sinatra's main men. Still, a bit more info about the recording sessions might have explained some of the stranger sounds here. Speaking of sound, it's a little rough, as if taken from LP. Granted, there are no annoying surface defects, so presumably an effort was made to clean it up as much as possible.
King Capisce (group; formed 2008) King Capisce (KC Records)
Tim Feben (guitar) Richard Harrison (sax) Alex Baker (sax) Roshan Lal (bass) Tom Ashfield (drums)
The self titled debut from this Sheffield quintet King Capisce a refreshing reminder that the UK jazz scene is has many influences and allot to offer. Unsigned King Capisce have been on the UK touring circuit for only short time but have built up a decent following and their debut shows great strength in depth and vision.
This is a harder edge mixture of prog, psychedelia and free jazz. While current favourites, Polar Bear, Acoustic Ladyland and Troyka may come to mind, King Capisce are definitely making a case and carving out a space that might well be all their own in the future.
The album begins with the frightening beauty of "Cheer Up Cyclops" which start with Roshan Lal's funky bass line and then blast head first into an exchange of potent ideas both gentle and frenetic. "Cheer Up Cyclops" almost sums up the album in seven minutes (but wait there's more)--a bright piece of psychedelia and free jazz. It got me thinking, what if Ornette Coleman joined King Crimson on stage for one night? (Actually that could still happen.)
The battle of duelling saxophones and the blistering guitar work makes for some heavy listening at times but I think everyone with a sense of rock and jazz will enjoy King Capisce for different reasons. That battle continues on "The Sharp Edge", a mountain of a piece that delivers some complex melodies within changing environment. "The Sharp Edge' moves quickly from gently structure chords to funk patterns to improvised chaos.
"Between Teeth" gives this session a blues-rock injection with some wonderfully shifting work by Tim Feben on guitar. "Between Teeth" builds to high climax as the rest of the quintet join in a Philip Glass-esque arpeggio. "Boundless" closes things out with a mid-tempo delivery but just the right amount delicate aggression to remind the listener why this debut is so impressive.
A solid premiere for the Sheffield quintet that sparkles with ideas and strong musicianship. King Capisce is a band worth watching over the next couple of years. This is definitely the shape of jazz to come and let's hope they become talked about in the circles as the aforementioned UK outfits sooner rather later. Highly Recommended.
Ken Thomson (bass clarinet, alto sax) It Would Be Easier If (Intuition Records) Russ Johnson (trumpet) Nir Felder (guitar) Adam Armstrong (bass) Fred Kennedy (drums)
It Would Be Easier If is a clear, inventive yet diverse record from a mainstay on the New York scene, Ken Thomson. A co-founder of the avant garde jazz/rock band Gutbucket and collaborator with the versatile Bang On A Can, Thomson present an incredible debut as leader with elements of classical, free jazz and rock even paced throughout It Would Be Easier If.
This is an album that I think a lot of people will find different parts to like. There are moments of Gutbucket, Praxis, John Zorn's Painkiller that make for electrifying listening. But then just as firecracker of this music ignites you get a taste of Thomson's excellent jazz and chamber music arrangements.
Opening with the bewitchingly intricate "Kleine Helmet", with some outstanding delivery from Russ Johnson on trumpet and Thomson on bass clarinet. "Kleine Helmet" is beautiful example of the album as a whole. It is gentle throughout but encases some extraordinary arrangements that swing both in the direction of small group classical settings and free floating jazz conceptional thought.
"Goddamn You Ice Cream Truck" cuts against the grain of the It Would Be Easier If with Thomson bringing his Gutbucket inspirations into the proceedings. "Goddamn You Ice Cream Truck" is a fun and boisterous experience with Nir Felder's fiery, improvised chord changes augmented by the bombastic interplay between the rest of the members of the quintet--sonic bliss indeed.
With "Goddamn..." being the propulsive center point, the rest of the session is a more introspective and balance affair. "No, No, No" is the albums warmest moment. Led by some beautiful drumless electronic work from Fred Kennedy and fuzzy atmospheric guitar on the part of Felder this piece transforms into a wonderful meditative statement.
"No, No, No" then opens up to "Wanderangst" which finds its rhythm midway through and the sizzling syncopation that the quintet performs especially Thomson on clarinet is absolutely phenomenal. The compositional elements on "Wanderangst" are extremely refreshing.
The album closes with the title track, a slow progression but bold in nature. It again features some stellar interplay between Johnson and Thomson.
It Would Be Easier If is fantastic combination of Ken Thomson well structured chamber arrangements and superiour improvisation on the part of each member of the ensemble. It's great to see Thomson finally put all his thoughts and influences into one place and no better way than on his debut. It Would Be Easier If is an impressive work for an artist and composer that I hope will record more as leader and someone you should most certainly check out. I really love this record.
