Gregory Porter – Nat “King” Cole & Me

Posted on November 2, 2017 by aaamc

Artist: Gregory Porter

Formats: CD, LP, MP3, Deluxe ed.

Date: October 27, 2017

Born and raised in Sacramento, California, Gregory Porter is undoubtedly a jazz legend. He captured audiences with his enchanting baritone voice the moment he stepped on the scene, receiving a Grammy nomination for his debut album Water (2010), and wining the Grammy Award for Best Jazz Vocal Album with Liquid Spirit (2013) and last year’s Take Me To The Alley. Now, as he teams up with 6-time Grammy award winning arranger Vince Mendoza as well as the London Studio Orchestra, Porter will sends chills down your spine and possibly bring a tear to your eye with his new album Nat “King” Cole & Me.

This album is meant to be a tribute to his idol, the legendary Nat King Cole, whose influence on Porter began at a very early age. In a recent interview, Porter recalls writing a song and playing it for his mother. Upon listening to young Gregory she exclaimed, “Boy you sound like Nat King Cole.” This sparked Porter’s lifelong love for Nat and his music. Porter also explained that his father was never in his life and Cole’s music seemed to fill a type of void in him, stating “They were coming out of the speakers like Nat was singing those words just to me. I would listen to his albums and imagine that Nat was my father.”

The material in the album consists of gorgeous orchestral arrangements of songs made famous by Nat King Cole, one of the first being “Nature Boy.” Porter’s rich tone on this song is hauntingly beautiful as he treats the melody and the text in ways clearly influenced by Cole yet still maintaining his own individuality. As the album continues we are met with even more phenomenal arrangements like “Miss Otis Regrets,” with a bombastic introduction that swiftly drops as Porter enters with the lyric. But one of the best moments happens towards the end of the album as Porter sings the standard tune “For All We Know.” His tender delivery of this song is amazing in how he treats the lyric and occasionally embellishes the melody, showcasing excellent control.

With other classic tunes like “L-O-V-E,” “Sweet Lorraine” (on the 15 track deluxe edition) and “The Christmas Song,” Nat “King” Cole & Me is absolutely astonishing. With a rich and soulful sound, no one could do more justice to the memory and legacy of Nat King Cole than Gregory Porter.

Reviewed by Jared Griffin

Jesse Royal – Lily Of Da Valley

Posted on November 2, 2017 by aaamc

Title: Lily Of Da Valley

Artist: Jesse Royal

Label: Easy Star Records

Formats: CD, LP, MP3

Release date: October 6, 2017

Artist Jesse Royal, known for his creative ideas and performances, presents his debut album on Easy Star Records, Lily Of Da Valley. This release not only showcases Royal’s vocal abilities and musicianship, but also his knowledge of Jamaican reggae music. His compositions take the listener back to the roots of Jamaican music while highlighting current developments in reggae.

The 14 tracks include previously released hit songs such as “Modern Day Judas,” “Generation,” and “Finally,” as well as new compositions—“Real Love,” “Full Moon,” “Waan Go Home,” and others—covering topics from religion and oppression, to peace and love.

On “400 Years,” Royal tackles the issue of systemic oppression, calling for peace and equality, reparation for the black nation, and the elimination of a system that has kept people of African descent in “shackles.” In addition, the electrifying performance by the rhythm, coupled with a memorable melodic hook and harmonious backing vocals, resonate with the listener.

Royal’s song “Jah Will See Us Through” offers an uplifting messaging of hope that Jah will help us overcome life’s struggles and obstacles. Royal’s usage of biblical references in his lyrics provides encouragement and comfort. Along with his lyrics of hope, the listener is treated to a brilliant musical arrangement filled with warm and lush harmonies, groovy basslines, and a superb soulful guitar solo.

Lily Of Da Valley is certainly an inspiring collection of artistic and musical expression, and contributes to the ongoing legacy of Jamaican reggae music.

Reviewed by Jamaal Baptiste

Aruán Ortiz – Cub(an)ism

Posted on September 1, 2017 by aaamc

Title: Cub(an)ism

Artist: Aruán Ortiz

Label: Intakt

Formats: CD, MP3

Release date: June 18, 2017

Cuban-born pianist Aruán Ortiz blends Cuban traditional rhythms with Cubist concepts and elements of free jazz improvisation in his astounding new release Cub(an)ism. This solo piano album is filled with fragments taken from both sides of the Cuban-Cubist spectrum, using the fundamental Afro-Cuban rhythmic structures as vehicles for Ortiz’s Cubist expressions. On “L’ouverture” he uses the Afro-Haitian gagá rhythm as a motif, which is developed further as the piece progresses. “Cuban Cubism,” however, begins with free improvisation, later combining Afro-Cuban 6/8 rhythmic patterns in the left hand with jazz melodic phrases in the right hand.

Cub(an)ism is a model for any aspiring musician interested in blending folkloric musics and classical structures.

Editors note: This fall Ortiz will be touring the U.S. and performing at jazz festivals in Chicago, Seattle and San Francisco.

Reviewed by Jamaal Baptiste

Nooky Jones – Nooky Jones

Posted on September 1, 2017 by aaamc

Title: Nooky Jones

Artist: Nooky Jones

Label: Young and Foolish

Formats: CD, MP3

Release Date: July 28, 2017

Minneapolis-based band Nooky Jones have been lighting up their local jazz scene for over three years with a distinctive fusion of soul, jazz and hip hop, but the recent release of their self-titled album allows for dissemination of their unique musical styling to all. Helping to bridge the gap between these diverse vibes is lead singer Cameron Kinghorn, a former Mormonite-turned-student from the University of Minnesota. It was during his schooling, Kinghorn claims, that his eyes were opened to an entirely different world; one where he met and befriended a diverse mix of people from varied ethnic and religious backgrounds. These formative years led to his subsequent dealings with drummer Reid Kennedy and trumpet player Adam Meckler, both U of M alums. Freshly penned songs in hand, the trio quickly teamed with bassist Andrew Foreman, keyboardist Kevin Gastonguay and trombonist Ryan Christianson to begin recording.

Produced over a course of 15 months at RiverRock Studios and The Hideaway in Northeast Minneapolis, Nooky Jones relies on each musician’s unique style as a critical part of the overall sound. Atop airtight yet comfortably loose drum and bass grooves often reminiscent of ‘90s R&B and hip hop, layers of harmonically complex piano, organ, and Fender Rhodes create a lushness associated with jazz that rarely integrates so tastefully into pop music. Each track is a delight to the ears, as the merging of each musician’s talents hits the ultimate apex when combined with Kinghorn’s sultry vocals. “After One” opens the album softly with steady beats and chords, gradually simmering in vocals and brass to a slow boil, while the later “Sweet Wine” gently punches with an immediate release of Kinghorn’s talents. A heartfelt message intermixed with wholehearted instrumentals dominates “The Way I See You,” while “Someone Who” features a silky smooth falsetto on par with the best soul crooners in the business.

Hands down, Nooky Jones delivers, reminding us all exactly what we are looking for in life and in jazz—someone who passionately and steadily offers the very best of all they have to give.

Reviewed by Amy Aiyegbusi

Southern Avenue – Southern Avenue

Posted on February 1, 2017 by aaamc

Title: Southern Avenue

Artist: Southern Avenue

Label: Stax

Formats: CD, LP, MP3

Release date: February 24, 2017

There’s something about Memphis-based band Southern Avenue that feels undeniably raw and authentic. Their intermingling of soul, blues, and gospel music has been talked about in Memphis for years and is now available for everyone to hear on their debut self-titled album. The band’s impassioned vocals, emotional songwriting, and guitars that rollick between easygoing blues and hard rock provide a lively glimpse into the Southern aesthetics and musical traditions of Memphis.

The first seeds of Southern Avenue were sown when guitarist and Israel-native Ori Naftaly competed in the 2013 International Blues Challenge in Memphis. After briefly touring with his own band, he met singer Tierinii Jackson, who grew up in Memphis singing gospel music in church. The two hit it off, and after gathering other members including Jackson’s sister as their drummer, formed the band Southern Avenue. In less than a year, they were signed to Stax. As a Memphis native, Jackson takes this responsibility seriously, determined to honor and build on the history of the legendary label and the renowned music that the name Stax evokes.

The first track and single on Southern Avenue is the hopeful “Don’t Give Up.” Starting off with acoustic guitar, hand claps, and gentle vocals, Jackson leads a call and response, singing “When it hurts real bad” while a chorus responds “Don’t give up.” Soon, drumset and electric guitar come in, building the energy and urgency. Jackson changes her call throughout the song, also singing “When you feel there’s no hope” and “Don’t give up,” building her melisma through a crescendo until the song culminates with a rocking electric guitar solo and then fades out over organ chords:

The rest of the album is a mix of R&B songs—such as the romantic, pleading “Love Me Right” and sexy “Wildflower”—and the upbeat blues rock of “No Time to Lose” and “Rumble.” The group’s gospel influences can also be heard in the harmonies of “It’s Gonna Be Alright,” a much softer, soothing song that emphasizes the soulful qualities of Jackson’s vocals. “80 Miles from Memphis” draws on both blues and country music traditions, as Jackson sings about being away from home and “crying her blues away.” Naftaly’s guitar is a highlight of this song, showing his immense passion and skills for playing the blues.

Southern Avenue’s mix of cultures and genres reflects and honors the diversity of cultures and music in Memphis. Even the group’s name pays homage to the musical history of the city, as Southern Avenue is a Memphis street that runs from the eastern city limits all the way to the original home of Stax Records in Soulsville. Southern Avenue is an impressive debut, which showcases the impeccable songwriting and musical talent of its member and transforms Southern traditions into a modern sound.

Reviewed by Anna Polovick

Corey Henry – Lapeitah

Posted on February 1, 2017 by aaamc

Title: Lapeitah

Artist: Corey Henry

Label: Louisiana Red Hot Records

Formats: CD, MP3

Release date: September 6, 2016

Corey Henry was raised in the birthplace of jazz—New Orleans’s Treme neighborhood. Inspired by his environment and musical family, Henry started learning trombone at the age of 10, and by age 16 he was hired to play with the Treme Brass Band. Since then, he’s become a vital part of the New Orleans jazz scene, performing with his Little Rascals Brass Band and the nationally touring jam band Galactic. Last September, Henry released his solo debut, Lapeitah, out on Louisiana Red Hot Records. Produced and co-written by Brian J., Lapeitah includes nine originals and one cover that showcase modern New Orleans funk at its finest.

There are a number of guest stars on Lapeitah, including alto saxophonist Greg Thomas (George Clinton & Parliament Funkadelic). Thomas plays on the exuberant “Muddy Waters” (below) and the soulful “We Got the Funk,” both of which share vocal choruses straight out of 1970s funk scene. Thomas is also featured on the instrumental “Get Funky,” which displays the connections between jazz and funk in a playful call and response between varying soloists and the rest of the musicians.

The album also features a number of guest vocalists, such as Corey Glover (Living Colour) on an impressive hard rock cover of Jimi Hendrix’s “If 6 Was 9.” Glover’s gritty vocals, which at times dissolve into rock star shrieks, are echoed by the timbre of Henry’s raw, relentless trombone solo. Nowhere is Henry’s New Orleans origin more evident than on the original “Baby C’mon,” featuring vocals by Cole “Ms. Cake” Williams. This funky, upbeat second-line pride song is perfect for Mardi Gras celebrations in Henry’s hometown.

The fusion of jazz and funk makes Lapeitah a joyful, celebratory outpouring of two of New Orleans’ most famous musical cultures. While the songs may sound carefree, the carefully curated songwriting and talent that Corey Henry and Brian J bring to the album prove that Henry is a force to be reckoned with in the New Orleans jazz and funk world.

Reviewed by Anna Polovick