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UPCOMING CD REVIEWS FOR THE LOS ANGELES JAZZ SCENE - MARCH AND APRIL 2010
Reynolds Brothers
A Rhythm Rascal Cocktail
(Zasu)
The Reynolds Brothers (washboard wizard Ralf Reynolds and guitarist-singer-whistler John Reynolds) have been
playing hot jazz of the 1920s for quite a few years, often leading a series of groups under the name of the Rhythm
Rascals. Their current version is a stripped-down quartet that also includes Katie Cavera (normally a rhythm
guitarist) on bass and cornetist Marc Caparone.
While this group is much smaller than usual and I wish that there were more features for Ralf and his washboard
(whenever he is showcased, it is a joy), this is an excellent recording. Caparone's cornet playing is reminiscent of
the adventurous Henry “Red” Allen,” John Reynolds many solos feature him fitting in somewhere between Eddie
Lang and Django Reinhardt, Katie Cavera's supportive bass keeps the music swinging, and the singing of the
Reynolds Brothers is full of spirit.
Highlights include “Futuristic Jungleism,” “I Would Do Anything For You,” “Blue Drag,” “Nagasaki,” “Happy Feet'
and “Sentimental Gentleman From Georgia.” The Reynolds Brothers not only revive great tunes from the past, but
they invigorate the music with their own personalities and the results, rather than just being a recreation, are fresh
and lively. Their infectious music (available from www.reynoldsbrothers.net) is impossible to resist.
Doc Souchon
The Lakefront Loungers & His Milneberg Boys
(GHB)
A surgeon by day, Doc Souchon was also a New Orleans-based guitarist and singer who made important
contributions as a writer, educator and lecturer. He was the founder of the New Orleans Jazz Club in 1947 and
wrote scholarly articles for The Second Line.
On this CD, two of his rare sessions as a leader are reissued together. Although he takes three vocals, Souchon
(who doubles on banjo) is mostly content to be part of the ensembles and accompany the excellent soloists. The
1958 session has a septet also including cornetist Johnny Wiggs, clarinetist Raymond Burke, trombonist Paul
Crawford, pianist Knocky Parker, bassist Sherwood Mangiapane and drummer Paul Barbarin while the 1961 set
teams Souchon with Burke, trumpeter Mike Lala, trombonist Jack Delaney, pianist Armand Hug, bassist Chink
Martin and drummer Monk Hazel. Fans of traditional New Orleans jazz of the 1950s will recognize most of these
names for these were some of the best players in the Crescent City.
Throughout the two highly enjoyable and spirited sessions, the musicianship is impressive, the solos are logical
extensions of the ensembles, and all of the key players are well featured. Among the more memorable selections
are a swinging version of “America The Beautiful,” “Come back Sweet Papa,” Souchon's singing on “Stack-O-Lee,”
“Smiles,” and Sister Elizabeth Eustis' guest vocal on “Down By The Riverside.”
This easily recommended and joyous music is available from www.jazzology.com.
Ernie Krivda
November Man
(CIMP)
Solo saxophone albums are pretty rare and usually come from the avant-garde. Although he has an original tone
and conception and has played in freer settings, Ernie Krivda is also a post bop tenor-saxophonist who has ties to
straight ahead jazz.
Long based in Cleveland, Krivda started on clarinet when he was six, alto at 16, and permanently settled on the
tenor two years later. Along the way he picked up experience playing in bands behind the top Motown acts, was
the leader of the house band at the Smiling Dog Saloon in the 1970s (which made it possible for him to work with
Chick Corea, Herbie Hancock and Elvin Jones), toured with Quincy Jones, headed the Fat Tuesday Big Band and
recorded a dozen albums as a leader including a tribute to Stan Getz.
On November Man, Krivda freely improvises a dozen originals. His playing is in some ways reminiscent of an opera
singer, with an emphasis on long tones in spots. His tone remains very personal and he takes his time in his
improvisations, developing his ideas logically if unpredictably. Occasionally he plays faster runs but even then he
sounds relaxed, coming up with fresh melodic ideas rather than engaging in sound explorations.
Although it may take listeners a little time to get used to the sound of a solo tenor, and Ernie Krivda's tone in
general, November Man is a solo recital that grows in interest with each listen. It is available from www.cimprecords.
com.
Tim Laughlin
A Royal St. Serenade
(Gentilly)
A major New Orleans clarinetist who in recent times has been gradually gaining long overdue recognition, Tim
Laughlin has a beautiful tone that is influenced by Pete Fountain, a swinging style, and the ability to make even
familiar warhorses sound inventive.
On A Royal St. Serenade, the clarinetist leads a group also featuring Jason Marsalis on vibes (the drummer has
recently begun mastering the instrument), Larry Scala on guitar and banjo, bassist Matt Perrine, and drummer
Bunchy Johnson. The quintet performs six standards, four of the leader's originals and two obscurities. Starting
with a slower-than-usual version of “Indiana” (which brings out some of the hidden beauty in the song), the band
performs such songs along the way as Peanuts Hucko's ballad “A Bientot,” “I'm Sorry I Made You Cry,” Laughlin's
tribute to Pete Fountain “For Pete's Sake,” and “Wolf's Gang,” which was adapted from Mozart's Clarinet Concerto.
The music may fall into the New Orleans jazz/swing tradition but it contains more than its share of surprises. Tim
Laughlin, who concludes the CD by talking on “Jazzspeak” about his current activities and summing up the
recording, consistently displays a beautiful tone and a fertile imagination. His recordings, available from www.
timlaughlin.com, are well worth exploring, including this one.
Various Artists
Best Of First International Jazz Solo Piano Festival 2009
(Jan Matthies)
Matthias Claus from Germany, American Rob Albanese and Ayako Shirasaki from Japan combined together to
perform solo piano sets during three concerts in Germany. While none are household names, all are brilliant
pianists who have no difficulty playing without bass or drums. Each are modern soloists who fit into the modern
mainstream, being aware of the past without copying any of their historic predecessors.
This live CD has three selections apiece from each of the pianists. Matthias Claus performs inventive versions of
his “Hymn For The Old Souls,” “Old Folks” and “Softly As In A Morning Sunrise,” expertly exploring a variety of
moods in a well-constructed mini set full of lyricism, thoughtful moments and impressive technique.
Rob Albanese plays a light swinging stride on a delightful version of “Manhattan,” digs into Bill Evans' “Time
Remembered” and displays fire on “Morning Nocturne.”
Good as those two pianists are, Ayako Shirasaki takes honors. On a playful rendition of Dizzy Gillespie's “Con
Alma,” she displays her classical training. She sounds joyful on a waltz version of “Someday My Prince Will Come”
and starts “Lennie's Pennies” with two happy choruses of “Pennies From Heaven” before evolving into the darker
Lennie Tristano line.
There is lots to enjoy throughout this superior release, available from www.jazzsolopianofestival.com. All three
pianists deserve to be well known in the jazz world and hopefully there will be many more releases in this series as
rewarding as this one.
Ori Dagan
S'cat Got My Tongue
(Scatcat Records)
A new name to me, Ori Dagan on his debut recording has immediately emerged as one of jazz's top scat singers.
Born in Israel and a resident of Canada since the age of eight, Dagan loves bebop. His voice is not virtuosic
although it is pleasant enough. But he is a very creative singer in the tradition of Dave Lambert, Jon Hendricks
and Eddie Jefferson. When he scats, he not only picks out excellent notes but uses a wide variety of syllables
(something all singers should do when scatting) and he is not shy to infuse the music with wit and surprises.
On S'cat Got My Tongue, Ori Dagan is joined by a couple of fine rhythm sections (the pianists are Mark Kieswetter
and Bernie Senensky), Chris Galo is on tenor or baritone on five numbers, and violinist Drew Jurecka is an asset
on two songs.
Among the highlights are a vocal duet apiece with Terra Hazelton (a spirited “I Wish I Were In Love Again”),
Heather Bambrick (who displays a beautiful voice on “Swing's The Thing”), Julie Michels and Sophia Perlman, all
of whom fare well. Other highlights include superior versions of “Four Brothers,” Charlie Parker's “Quasimodo” and
“Swinging On A Star” although a few of the other songs (most notably “Dindi,” “My Favorite Things” and “You
Don't Know What Love Is”) probably did not need to be revived yet again.
This very impressive debut is a major step forward for Ori Dagan, who in a few years will probably be very well
known in the jazz world. S'cat Got My Tongue is highly recommended and available from www.oridagan.com.