Undiscovered Soul: Angela Johnson

Angela Johnson (vocals, keyboards, electronics)

It's Personal (Purpose Music, 2010)

Probably known more inside music circles than the wider populous (a shame really), Angela Johnson has been on the scene for almost two decades. Her positive message and soulful rhythms have help transform indie Soul music both in the US, Europe and Japan. While Patrice Rushen is a documented influence, Angela Johnson is making a case as a highly influential figure in her own right among today's indie Soul singers.

There have been a lot of indie US Soul singers in the last few years who have gained considerable exposure; N'Dambi, Ledisi, Anthony David and Donnie quickly come to mind. Angela Johnson is well deserving of the same wider reach. She has not only been a supreme deliverer of passionate themes and beats--Johnson has become a magnificent songwriter (delivering hits for Conya Davis, the groups Reel People and Seek to name a few) over the course of her career.

Originally a member of short-lived underground soul outfit Cooly's Hot Box, Johnson left the group to launch her solo career. This past year she released her fourth album, It's Personal (Purpose Music) and it is truly a slice of soulful strength and personal insight. Mainly revolving around her family and personal experiences over the last few years, It's Personal can still be reconstructed for one's own life. Opening with intimate yet funky "Only One" which asks the question that even after all this time "Em I still the only one for you?". A great love song that is thoughtful, lovely and beat-friendly.

"Hurts Like Hell" discussing the loss of love and how it has affected her life. Something we can all relate to. The harmony and tempo of "Hurts Like Hell" reminds me of early soulful Jamiroquai tracks. It's Personal isn't just about personal and emotion themes, there are also infectious head bouncy, body moving movements like "On The Radio" where Johnson asks the question we are all want to know, "Where has all the good music gone from the radio?". Last night a DJ was supposed to save my life but apparently you just can't get find that on the radio or in a record store. Angela Johnson delivers the question with all the right beats of a late club night.

The title track also hits the dance note perfectly with keyboards, trumpets and sax (by the way an all female band with Johnson on keys). A song stating her strength and independent spirit. "It's Personal" is wonderful closing statement from Johnson and for me the best album since her solo debut, They Don't Know (Purpose Music in US, Dome in UK; 2002).

Angela Johnson writes, performs and produces all of her material which is rare even among indie Soul singers. It's Personal is a brilliant and poignant document of one of the best singer, songwriters on the soul scene today. A real undiscovered treat for any music fan. I plead with everyone to check her out. You won't be disappointed. They don't make soul like this---period.

George Schuller: Life's Little Dramas

George Schuller Trio

Life's Little Dramas (Fresh Sound/New Talent; 2010)

George Schuller (drums)

Dan Tepfer (piano)
Jeremy Stratton (bass)

You may not know George Schuller but you've probably heard him at one point or another. Schuller comes from a family of jazz musicians (brother Ed and father/legend Gunther). His talent extends across an array of recordings, either as member, producer or writer. He's worked with Joe Lovano, Tony Malaby, Ran Blake, Luciana Souza and one of my favourite groups, Conference Call to name just a mere few. Schuller is a highly versatile and artistic drummer but an even more prolific and masterful composer.

Schuller's recorded discography as leader isn't that long considering his been performing since the early '80s. George Schuller's latest, Life's Little Dramas (Fresh Sound/New Talent) is wonderful example of Schuller's versatility and compositional brilliance. Now I don't own any of George Schuller's material as leader so this was a bit of a revelation for me when I got a copy of Life's Little Dramas. Joined with him are two other exciting and highly skilled musicians in Dan Tepfer (piano) and Jeremy Stratton (bass). Both musicians have stellar recording careers of their own but within Schuller's arrangements they all shine. The number of tracks Life's Little Dramas were written over the span of the last 3 decades and Schuller as he mentions briefly in the notes wanted to readdress them in a different way.

Opening with the Schuller penned "Glass Notes", Tepfer takes center stage with some lovely and dynamic moments throughout. Schuller and Stratton keep a slight yet quietly upbeat tone in the background. Schuller's arrangements are extremely inventive and utilize various chord changes that may not be noticeable to the non-musician (myself included) but they will hit you subtly. One such moment is "House Of Blue Lime", written by Lee Konitz, which Schuller arranges with great beauty and craft. Stratton and Schuller both have exquisite solos during this piece. And I think its Schuller voice (someone correct me if I'm wrong) that can be heard underneath the chords in an almost Keith Jarrett-esque channeling.

Schuller's compositions really do allow the trio to stretch and feel extremely wide and open. The richly diverse "Newtoon" is evidence that Schuller can be complex in his structure while still building a marvelously touching tune. The drums are awash everywhere while Tepfer tenders delicate yet playful chord changes. "Salad Days" is simply a wonderful ballad strangely enough about salad. Stratton again shines with emotive delivery. Schuller message is carried with firm brushes of rhythm while Tepfer delivers story on top.

Life's Little Dramas is compelling, diverse, and filled with energy on multiple levels. It's not drummers record. It's a composer's record. And this composer has delivered a superb document of post bop skill and brought out the best in his trio. I'm hoping these guys get a chance to record again because Life's Little Dramas is a real treat from start to finish.

Mitch Kessler: Der Erlkonig

Mitch Kessler (sax, flute)

Der Erlkonig (Sun Jump Records)

John Esposito (piano)

Peter O'Brien (drums)
Ira Coleman (bass)

Working with longtime friends and fellow upstate NY musicians The John Esposito Trio, Mitch Kessler has produced a marvelous second album, Der Erlkonig (The ElfKing) (Sun Jump Records) which somehow surpasses his debut Erratica (Sun Jump Records; 2009). This is a spiritual/free jazz outing in the vein and quality of Pharoah Sanders, Eric Dolphy and Alice Coltrane; or even the soulful elements of Detroit's Tribe which featured Phil Ranelin, Marcus Belgrave and others.

Der Erlkonig, a poem written by Johann Wolfgan Von Goethe tells the story of young boy who is killed by a mysterious being while riding home with his father on horseback. It's is dark and unsettling story that leaves a lot to the imagination. Here Kessler has made the piece more haunting by delivering the poem in its traditional German. The performances "Der Erlkonig" are spectacular. The opening bassline from Coleman suggests a beat generation like journey over the next 70 minutes. And it delivers. The quartet are smokin' and make the haunting tale seem more like a journey of a higher order.

"Indo Eurasian Folksong" has all the elements of A Love Supreme-Acknowledgement with an added level of urgency. The timing and interaction between the quartet tells you that while they've only recorded a small amount of material together they are still tight and rhythmically adventurous. The floating hypnotic nature of Kessler's flute combined with Coleman's addictive bassline just underneath is sublime.

"Non Sequitur" bursts through with some wonderful improvisational exchanges between Kessler and Esposito. Coleman and O'Brien are not to be outdone as they emerge midway with an excellent yet delicate exchange that leads to a lovely closing.

"Vietnamese Waltz" closes out this session and it's a blisteringly beautiful track with excellent solo work from each musician. Kessler's playing is far-reaching, exploratory and touching all in a matter of nine minutes. This is great stuff, people.

For me, Kessler's compositions are an interesting and intricate balance of the latter works of both Coltrane's (John and Alice) and Monk. With only his second release, Der Erlkonig, Mitch Kessler has estabished himself as a soon to be dominate talent on the scene if he continues with this type of consistently strong and creative output. Mitch Kessler is an undiscovered treasure and more than worth the purchase (You can find it at Downtown Music Gallery). Enjoy.

Miles Davis Live

Miles Davis (trumpet)
Bitches Brew Live (Columbia/Legacy; 2011)
Chick Corea (electric piano)
Jack DeJonette (drums)
Dave Holland (bass)
Gary Bartz (sax)
Keith Jarrett (organ)
Airto Moreira (percussion)

Well, its always easy to talk about Miles Davis here at JazzWrap, this week sees the release of another Miles Davis document--Bitches Brew Live (Columbia/Legacy). While there is a plethora of live Miles material out there, its probably pretty tough to decide what to get. There are definitely some excellent "unofficial" live albums available--particularly from the Lone Hill and Gambit labels which if you find them--buy them. But you should put Bitches Brew on your list of Miles albums to pick up because it ranks up there as one of the best Miles live albums out there "official" and "unofficial".

Bitches Brew Live contains two dates, one prior to the release of the seminal album and one during the following summer (July 1969 and August 1970). This set is different than last years Bitches Brew deluxe edition which included a live disc recorded in Copenhagen. Bitches Brew Live features material from the Newport Jazz Festival and the legendary Isle of Wight Festival. The Newport set only features a quartet including Chick Corea (electric piano), Dave Holland (bass) and Jack DeJohnette (drums). Wayne Shorter (sax) was supposed to make up a quintet but according to the story he was stuck in traffic on the way to gig.

The performance here is incredible to hear with just Miles as the horn sections along with funky, swirling and psychedelic rhythm section. They plow through a brief ten minute version of "Miles Runs The Voodoo Down" in addition to the "Sanctuary," and "Its About Time", all with fierce accuracy. This was only a few weeks before Miles would go into the studio with his full twelve piece ensemble to record the groundbreaking album.

The second set recorded in the following summer after the release features that ensemble. This was kind of like Dylan going electric. While Miles had already starting thinking and utilizing electric in his performances this was sort of the coming out party that would make the ultimate statement to his current and new found audiences. Right from the start with "Directions" and "Bitches Brew" Miles and company get to the point that this was going to be a funky, raucous and adventurous affair. This version of "Bitches Brew" flows through some lovely Far East spiritual moments midway through that for me make it one of the highlights of that touring period. "Spanish Key" was always a soulful piece but the solo work from Gary Bartz on sax and how he leads the group is unbelievable. This becomes full throttle when Miles joins back in towards the end.

The rock influence shows definitely explodes during this concert and that makes Bitches Brew Live well worth picking up. Unlike the later live albums Miles would record during the 70s this year of show is probably the most focused and cohesive even for the non-Miles-fusion era fan. A real treat for everyone listening.

Further Recommended Miles Live Albums

Live at Pasadena Civic Auditorium '56 (second disc of Round Midnight deluxe edition on Columbia/Legacy)
Live In Stockholm '60 (With Sonny Stitt and John Coltrane on Dragon Records)
At Carnegie Hall '61 (Columbia/Legacy)
Live In Berlin '64 (Columbia/Legacy)
Winter In Europe '67 (Gambit)
In Concert at Philharmonic Hall '72 (Columbia/Legacy)
Agharta '75 (Columbia/Legacy)
Live In Poland '83 (Gambit)
Live At Montreux ,91 (Warners)