Lazy Californians: Back To San Francisco
Frisco-born trumpeter Cameron Washington has close family roots in Louisiana, and a specific interest in the richly diverse musical heritage of New Orleans. His Lazy Californians group delivers a heady mix of funky blues, hip hop, R&B and soul, seasoned with African and Afro-Caribbean elements, over strutting brass band rhythms, somewhat reminiscent of the Dirty Dozen Brass Band of the 80s. The Californians however have eschewed mobility, opting for a double bass and Hammond B3 organ together with sousaphone, bass or baritone sax and trombone in an oddly bottom-heavy instrumentation. Crisp and lively percussion supports the heavy declamatory section figures and wailing solos, the general ensemble frequently punctuated by exuberant whoops and grunts from sousaphone or bass sax in feisty carnival spirit.
The nine-piece band is augmented by numerous guests, mostly vocalists, with New Orleans trumpeter Leroy Jones contributing to the opening title track. (Cameron, who has worked on films in Hollywood, produced a film biography of Jones in 2018). Vocals of varying quality dominate the album, to excess for me. Hip jivey banter abounds, and I found the rap-style vocals in Ricochet and The Cookout particularly unappealing (likewise the frenetic instrumental feature for sousaphone and trumpet, Busted Key Stomp). The more straightahead jump blues approach to I Ain’t Drunk and You & Me & The Bottle works much better. The best tracks for me, however, are by far Movin’ On Up and Ken’s Chariot (Swing Low Sweet Chariot) in which Shamila Ivory’s vibrant soul vocals are supported by the spirited jazz-gospel backing, spurred on by spanking drive from the percussion. In a totally unexpected and contrasting style, the final track SanKofa features the marimba and is ultra soothing and gentle, rather like calming therapy music.
All in all, this contains a bold and lively but rather unsettled mix of input, intended to represent in feisty carnival style the heterogeneous nature of contemporary New Orleans music.
Discography
Back To San Francisco; Mêlée In The Vieux Carré; The Motorboat Song; Movin’ On Up; Busted Key Stomp; Ricochet; The Cookout; Toussaint’s Groove; I Ain’t Drunk; You & Me & The Bottle Makes 3; Tonight; Ken’s Chariot (Swing Low, Sweet Chariot); SanKofa (42.44)
Cameron Washington (t, v); Rick Russell (ts); Jeremy Neswith (tb); Patrick Byers (bar, bs, f); Benwar Shephard (bb, v); Kevin Gerzevitz (org); Tom Martin (b); Andrew Greenstein, Josh ‘Jams’ Marotta (d, pc). Guests include Leroy Jones (t); Dan ‘Lebo’ Lebowitz (g); Shamila Ivory (v); Glenn Appell (hca). California. No recording date given but c. 2025.
Angel Island Records 415
Ted Rosenthal Trio: The Good Old Days
This is the fourth of a recent four-album set of trio recordings by this versatile, experienced and highly trained New York pianist. In an impressively active career he first made his name in jazz circles in 1988, then joining Gerry Mulligan’s last quartet soon after, and becoming the tribute band’s musical director when Gerry died. He has worked with numerous jazz luminaries over the years (including Art Farmer, Phil Woods, Bob Brookmeyer and Wynton Marsalis), recorded frequently under his own name, taught jazz piano at university seminars, and composed a jazz opera, two jazz piano concertos and ballet music.
So Ted is no nostalgia addict and the album title is just his affectionate summary of earlier, pre-bop jazz styles. (Strangely though, no classic slow blues. Something Basie-ish would have fitted in well.) However, he puts his own refreshing spin throughout in a colourful homage to ragtime, 20s jazz, stride and swing classics. He plays with assured technical command and poise, swinging elegantly with a developing flow of expressive improvisation like a latter-day Teddy Wilson in the opening From This Moment On and the ballad tracks.
Hot Sauce is one of six originals and intended as complementary to Struttin’ With Some Barbecue, based on the same chords. The late Ken Peplowski, a world-class clarinettist who will be sadly missed, makes an ideal guest. His dialogue with Ted in Sunny Side Up (a calypso pastiche original) is a delight. Back Home In Yokohama puts a spotlight on Japanese bassist Norika Ueda and is loosely based on the chords for Indiana, though well disguised at the relaxed tempo. The title track is an attractive original which Ted recorded back in 2004 on a Peplowski album. Maple Leaf Rag is a standout track, a free interpretation which lifts the piece out of formal scored ragtime into free-wheeling variations and improvisation, romping along joyously. In similarly lively ragtime and stride style (with a seasoning of Jewish music and a late nod to King Porter Stomp), Schmatta Rag sees the album out in spirited style.
Excellently recorded, the trio generates a relaxed cohesive swing.These fresh and interesting interpretations of classic formative jazz styles make very enjoyable listening.
Discography
(1) From This Moment On; (2) Hot Sauce; (1) Back Home In Yokohama; Two Sleepy People; (3) Maple Leaf Rag; (1) The Good Old Days; Sultry Sweetie; (2) Sunny Side Up; (1) Autumn In New York; (3) Schmatta Rag (50.18)
(1) Rosenthal (p); Marti Wind or Noriko Ueda (b); Tim Horner or Quincey Davis (d); New York, 11 July and 5-8 August 2024.
(2) Add Ken Peplowski. As (1).
(3) Rosenthal (p); Horner (d). As (1).
TMR Music 022726
Daphne Roubini And Black Gardenia: Whisky Scented Kisses
Vancouver vocalist Daphne Roubini composed six of the nine songs on this album, backed by her all-Canadian group, Black Gardenia. Her songs are quite similar in style and content, romantic wistful ballads about lost, longed for, or unrequited love, and are very laidback, except for the slightly more upbeat closing track. Her soft, small voice is restrained but expressive and her phrasing and overall style seem grounded in the classic ballad recordings of the swing era, with occasional hints of the young Billie Holiday. Guitarist Paul Pigat’s neatly tailored arrangements provide appropriately contained backing for an album essentially late-night in mood.
The two best tracks for me were more upbeat and with stronger melodic appeal – You Leave Me Breathless from 1938 (a hit for Nancy Wilson) and This Year’s Kisses, recorded by Billie Holiday in 1937. Dave Say’s tenor injects welcome jazz ginger into the prevailing sedate proceedings, and Daphne’s more spirited delivery on these couple of tracks creates more appeal for the jazz-minded listener. Summing up, this is, as clearly intended, agreeable, laidback music for candle-lit listening.
Discography
Minor Mood; Am I Crazy?; Whisky Scented Kisses; How Do I Know?; Today; There’s Always Tomorrow; You Leave Me Breathless; This Year’s Kisses; Who Stole The Moon? (32.07)
Roubini (v); Paul Pigat (g, arr); Stephen Nikleva (g); Dave Say (ts, ss); Brad Turner (flh, t); Jeremy Holmes (b). Vancouver, 3 April 2025.
Cellar Music CMF040125
