Rented Mule - "F"

Rented Mule "X"
Reviewed By: Jeff Becker
Year: 2009

Personnel: D.A. Jones (drums), Marcell Bellinger (trumpet), Jason O'Mara (saxophones), Camille G. Brown, (keyboards, Pete McRae (guitar), Napoleon Black (percussion), Dan Greenberg (bass)

Rented Mule “X” is the sophomore effort by this group that has a sound reminiscent of the early fusion meets R&B, sound of late 70’s. While conceptually a great idea the release didn’t really have a fresh approach, it was honestly a dated sound performed by an ensemble who reminded me of a club group, instead of recording artists.

Overall the highlight on this disc is Don ‘D.A.’ Jones (drummer) and Dan Greenberg (bassist) unfortunately the rest of the ensemble sounds very young which creates even more focus on the weak points of the CD.

Additionally there is a sonic problem within the recording. The bass doesn’t resonate clearly throughout the recording, which especially in this type musical presentation it is imperative to feel the thump of the bass along with crisp clarity of sound for the true enjoyment this genre has to offer. Overall, the lack of clarity adds to distaste for the recording. It almost felt like a jam session instead of a national release.

Kat Walker's "Jazz Skat Gumbo"

Kat Walker, Jazz Skat Gumbo
Review By: Jeff Becker
Year: 2009
Purchase Link: CD Baby
Personnel: Personnel: Kat Walker: vocals; Bart Ramsey: piano; Dominick Grillo: saxophone; Spike Perkins: bass; Dennis O'Toole: drums.

Greasy, spicy and delicious, no I am not talking about food; I am talking about the debut CD from Kat Walker Jazz Skat Gumbo. Hmmm, Hmmm, Hmmm this is hot New Orleans swing and Walker serves it up with authenticity.

At first listen you could mistake this CD as one of the many vocal jazz albums with countless renditions of well-worn standards, which would be an oversight; this CD is rich with the southern red clay and double fisted barrel house piano of juke joints.

For this review we will focus on “It Don’t Mean A Thing, (If It Ain’t Got That Swing)” The band leads off with a full form setting up this swingin’ rendition, pianist Bart Ramsey’s “stride-ish” left hand counterpoint creates a nice pad under Walker’s vocals. You can almost hear Kat smile when she comes in, her vocals are bouncing, fun and in the pocket. Her voice is whiskey soaked and like a fine weathered horn. The first solo is embarked on by Ramsey; he uses chromaticism to turn up the heat to a boil. Reedman, Dominick Grillo heads straight to the kitchen ala Sam Butera style and adds his spice to the gumbo. Bassist, Spike Perkins and drummer Dennis O’ Toole take their turn in the sous chef seat and add in their zesty creole into the mix. To tie up the meal Kat Walker sprinkles in a bit of “vocal scat” making this dish a tangy delight.

Infectious, fun and just enough zing to make it swing. A nice calling card for a debut CD, Jazz Skat Gumbo will leave you satisfied.

Who is this man???

Roger Cairns - Let's...
Year: 2009
Review By: Jeff Becker
Purchase Link: CD Baby
Personnel: Roger Cairns (vocals), Larry Koonse, (guitar; 1, 7, 8 & 13), Darek Oles ( bass; 1, 7, 8, 10 & 13), Roy McCurdy (drums; 1, 7, 8, 10 & 13), Matt Otto (tenor sax; 2, 4, 6, 7, 9, 11 & 12), Gary Fukushima (piano; 2-6, 9-16), Ryan McGillicuddy (bass; 2, 4, 6, 9, 11 & 12), Jason Harnell (drums; 4, 6, 9, 11 & 12), Michael Shapiro (percussion; 2, 6, 9 & 12), Nolan Shaheed (trumpet; 3), Javier Vergara (tenor sax; 3, 5, 14-16), Damon Zick (tenor sax, bass clarinet, flute; 3, 15 & 16), Ryan Seward (guitar; 5, 14-16), J.P. Maramba (bass; 3, 5, 14-16), Ryan Doyle (drums; 3, 5, 14-16), Bobby Wilmore (percussion; 3, 5, 14-16).

Who is this man; a blues singer, a jazz singer, John Laine?... If there is one common theme everyone can agree on it is that Roger Cairns can tackle all of these genres with focused ease. He can move seamlessly between styles and genres, between blues, jazz, ballads and swing, between musical eras, like the show tunes of the 30s and 40s, through the lush ballads of the 50s and early 60s, to the revived rhythm & blues of the 60s and the fusion of the 70s.

His sophomore effort Let’s...began as a compilation of some of the most popular tunes from his concerts and developed from there. His objective was for this collection of songs to have a wider appeal than, perhaps those on his freshman CD A Scot In L.A., which tended to be more focused. He did not title the CD Let’s Fall in Love because it’s not exclusively a love album; hence the abbreviation to Let’s...

“Let’s Fall In Love” has a great new arrangement from pianist Gary Fukushima; from the unison intro lines of guitar and piano punctuated with hits, one gets the idea that this is going to be a good listen. The unison lines are again heard at the end of each section that Cairns sings the melody, giving the arrangement a nice flow and cohesive balance. An interlude is added at the end of the form which finds Cairns relaxed voice teamed up with guitarist Larry Koonse in a series of rhythmic hits that segues nicely into the guitar solo portion of the arrangement. Koonse delivers a swinging solo over the two A sections followed by Cairns finishing the form. That brings us to the real treat of this arrangement, a beautifully composed vocal ease in which Cairns masterfully executes streams of complex rhythmic and intervallic lines in unison with guitar, bass, and piano. This is a great arrangement of this well known standard.

A Dream Team Effort!

RAMM/MORETTI/CUNLIFFE - FOUNDATIONS
Label: Foundations Jazz Records
Year: 2009
Review By: Jeff Becker
Purchase Link: CD Baby
Personnel: Curt Ramm (trumpet), Dan Moretti (tenor sax), Bill Cunliffe (piano, Hammond B3, Fender Rhodes), Marty Ballou (acoustic and electric basses), Marty Richards (drums).

What do you get when you mix a fiery horn section with tasty piano lines and one of the tightest rhythm sections in the Northeast? The debut release from Foundations Records entitled, Foundations. Now, who am I referring to, Curt Ramm, Dan Moretti, Bill Cunliffe, Marty Richards and Marty Ballou.

All of these musicians have versatility from years on the bandstand performing with fellow master musicians, particularly (Moretti), Aretha Franklin, The Temptations, Mike Stern, Dave Liebman. Not bad, what about (Ramm), Elton John, Patti LaBelle, Bruce Springsteen and let us not forget (Cunliffe), Buddy Rich, Frank Sinatra, Freddie Hubband as well as winning the Thelonious Monk International Jazz Piano Award, in addition to receiving a Grammy nomination in 2008, for “Best Instrumental Recording.” If you think all that looks good on paper, just wait until you hear them!

On Foundations, six of the pieces were co-written by Ramm and Cunliffe, while Moretti contributed the other five compositions. Each of the cuts are uniquely original in nature, and showcases the sheer technique, musicality and stellar writing this offering has within. However, for the purposes of our review, we are going to focus on one track in hopes you will get online and support the musicians by purchasing the CD, listening to it and then come back and put your comments here on our blog about your thoughts and emotions about Foundations. It is not just my lone opinion that counts; it is the power of the people’s collective thoughts and what we feel is consequential. So let me get you started and you take it from there.

For this review we will focus on the cut “Going Nowhere, Fast” a driving piece that cannot help but get your blood pumping, if you are not feeling motivated after hearing this cut, then you might need to have someone check your pulse! The horn lines are powerful and completely in sync with each other, it is evident that Ramm and Moretti have a powerful chemistry. Listen to the musical manner in which the horns play the counterpoint, each line is uniquely phrased, but blend together perfectly as Ramm sears in his upper register, while Moretti holds down the lower register complementing Ramm’s lines with supple support. The pulsing lines created by pianist Cunliffe and bassist Marty Ballou help frenzy the piece into cutting edge modern jazz. Drummer Marty Richards creates a solid focused foundation that stays within the pocket, but with just enough push to skillfully keep the band on edge, to give this piece the energy needed to keep the band driving to its limits.

Ramm’s solo is flawless and tonally what you would hope from a master trumpeter, with a crisp tone Ramm dips and soars into each note with ease. Saxophonist Moretti enters with dark moody tones that come across robust and round with muscular delivery. This is truly a team effort with all players skillfully playing their parts to create a commanding sound, a true “dream team” effort.