New Releases
Madeleine Peyroux Dreamland Atlantic
On first listening to Madeleine Peyroux one is struck by the uncanny familiarity of her voice. Immediately one hears the silk and grit of the late-career Billie Holliday; later one hears the sass of Bessie Smith and the control of Patsy Cline. But through them all Peyroux's own sweet vocals give life to some country classics ("Walkin' After Midnight"), pop standards ("l'm Going To Sit Right Down and Write Myself a Letter" and "La Vie En Rose"), blues ("Hey Sweet Man," "Reckless Blues," "Lovesick Blues"), and torch jazz tunes ("Dreamland").
Although the power of Peyroux's vocals carry the tunes very well, she has some very able help on this recording. Jazz pianist Cyrus Chestnut, violinist Regina Carter, tenor saxophonist James Carter plus rock guitarists Vernon Reed and virtuoso Marc Ribot all expertly serve Peyroux. With such support, this recording is doubly strong: great stylistic vocalings and exceptional musicianship.
Although each of the 12 cuts are strong, two stand out "Muddy Water," the blues-inspired 1920s tune, and Peyroux's own "Dreamland." Peyroux never sounded stronger than on "Water"; Cyrus Chestnut's piano, Vernon Reid's guitar, and James Carter's bass clarinet give this sweet song that Southern feel --the melody churns just like the mighty river . "Dreamland" moves Peyroux squarely into the pop field. Part of the strength of this catchy tune is the production of Yves Beauvais, and Torn Waits' collaborator/bassist/arranger Greg Cohen. The mix pushes Peyroux's vocal to the front, but the accompanying harpsichord and electric guitar are tastefully placed leaving Ms. Peyroux perfectly sonically framed. Expect to hear this number on the radio soon. Pick this recording up today.
James Dapogny's Chicago Jazz Band On The Road Schoolkids University of Michigan School of Music professor James Dapogny has released his latest hot jazz recording, marking the ensembles' 20th anniversary. Keeping in the traditional Dixieland/Chicagoland vein typical of his repertoire, this latest edition does no harm. The playing is strong, the production is clear and first-rate, and the material selection is unique and compelling.
As in Dapogny's other recordings, the selections are mostly jazz standards from the teens through the 40s. Material from illustrious musicians as Fats Waller, WC Handy, Hoagy Carmichael, and Benny Goodman can be found, but the real strength of this recording is Dapogny's arranging.
"It Was a Sad Night In Harlem" is simply beautiful "Old Man Harlem" features the baritone sax playing of Russ Whitman and the exquisite cornet work of Jon-Erik Kellso. But John Philip Sousa's "Washington Post" arrangement is breathtaking. This march is jumpified with a pulsating 44 rhythm, excellent instrumental cross-talk, and an arrangement that gives each instrument its improvisational due without cluttering things up. The tune is fiery yet controlled and clearly shows the powers of Dapogny and this excellent ensemble.