Fabulous Thunderbirds
“Struck Down” album
Stony Plain Records
The Fabulous Thunderbirds is a classic blues, rock, and roots band that hails from one of the epicenters of the genre, Austin, Texas. Beginning in 1974, the band toiled for a number of years, amid several lineup and record label changes. The T-Birds always stayed faithful to their Texas roots, but seemingly inched their way toward more mainstream success, with each recorded release. Eventually, original lead vocalist/harmonica player and co-founder Kim Wilson , along with guitarist extraordinaire Jimmie Vaughan led the charge to the top of the charts when MTV embraced their crossover video hits “Tuff Enuff” and “Wrap it Up” in 1986.
To date, Wilson is the only remaining original member and, with “Struck Down” as their 15th studio album release, show they are stronger and better than ever. The current lineup of the T-Birds also features Bob Welsh on keyboards and guitar, Rudy Albin Petschauer on drums, Steven Kirsty on bass and saxophone and Johnny Moeller on guitar.
Struck Down By the Blues
All the songs on this album were composed by Wilson and associate producer Steve Strongman. And, while the material certainly holds its own, the addition of guest collaboration from a laundry list of esteemed counterparts is a welcome spark. Each guest is especially suited for a particular song. And the mid-tempo shuffle of opener “Struck Down By the Blues” gets an added kick from Strongman’s able guitar work. “Don’t Make No Sense” has a New Orleans flavor and global phenom Terrance Simien does his thing on accordion and washboard. A time-honored tale of reaping what you sow finds Wilson and ZZ Top’s Billy Gibbons sharing vocals and some axe work. Perhaps, one of the stellar gems on this record is the story-driven “Nothing in Rambling.” This is a multi-layered tour de force of different takes on the blues lifestyle from some folks who know a thing or two. You’ve got Bonnie Raitt, Keb’ Mo’, Taj Mahal offering their own individual perspectives, with the great Mick Fleetwood holding the rhythms together, with his signature brushed snare drum style.
The Fabulous Thunderbirds have always had a knack for blending Stax-styled R&B, with that southwest flair. Tracks like “Won’t Give Up” and “That’s Cold” harkens back to some of their classic ‘80s sides. Another highlight is the band’s collab with guitarist Elvin Bishop on “Whatcha Do To Me.” It’s a snappy shuffle that spotlights the entire band in fluid interplay with the master.
Ballads, straight ahead shuffles and vintage rockers make this essential listening for fans and general music mavens alike.
Brian Landrus
Brian Landrus
“Plays Ellington & Strayhorn”
Palmetto Records/BlueLand Records
Brain Landrus is a master woodwind player who specializes in the bass and lower register horns and flutes. The Brooklyn, New York native has plied his trade as a leader and sideman for well over 20 years. He has worked with many luminaries in jazz, pop and orchestral music such as Fred Hersch, Esperanza Spalding, Maria Schneider, Gil Evans Orchestra, The Four Tops, Martha Reeves and so many others. Landrus has also taught at the university level and has a host of recorded albums under his own name on the personal imprint BlueLand Records.
Chelsea Bridge
Duke Ellington and Billy Strayhorn really need no introduction. They collaborated on so many compositions throughout the ‘40s and ‘50s that became perennials in the Great American Songbook. Many of their deeper cuts and mellower songs, both individually and collaboratively, are included in this collection curated by Landrus.
For this release Landrus has assembled a tight and empathic combo in Dave Stryker on acoustic and electric guitar, Jay Anderson on acoustic bass and Billy Hart on drums. The leader plays baritone saxophone, bass saxophone, bass clarinet, contra alto clarinet, piccolo, c flute, alto flute and bass flute.
A relatively short piece entitled “Agra” opens the record and that leads into the lilting swing and very lyrical Strayhorn composition “Chelsea Bridge.” “A Flower is a Lovesome Thing” is appropriately romantic and features floating baritone sax and seamless chordal accompaniment from Stryker. Ellington and Strayhorn’s “Daydream” is interpreted here as a gentle and smooth samba. The arrangement is light and airy. Conversely, the following Ellington piece “Praise God” is somewhat somber and more reverential. Landrus’ intricate orchestration adds to the depth of feeling and reflection.
Some other highlights include the acoustic guitar and saxophone pairing on “Lotus Blossom,” the lazy and languid feel of “Come Sunday,” the inclusion of, perhaps, one of Strayhorn’s best compositions in “Lush Life” and Landrus’ unorthodox, but brilliant solo baritone reading of Ellington’s “Sophisticated Lady.”
All the arrangements on this album were written by Landrus except “Lush Life” by Gregory Hopkins and “Warm Valley” by Ayn Inserto. And the manner in which Landrus single-handedly performs all the woodwinds and creates this big band sound with his band mates is no mean feat. It is a testament to the inventiveness and ingenuity of all involved. This is a love letter to, undoubtedly, two of the most important and influential American composers in jazz and popular music.
Colin James
Colin James
“Chasing the Sun” album
Stony Plain Records
Over nearly 40 years, Canadian blues rocker Colin James has come into his own as a singer-songwriter, guitarist and all around performer. The Canadian Music Industry Hall of Famer has shared the stage with such fellow musical greats as Keith Richards, Albert Collins, Albert King, ZZ Top, The Cheiftains, Carlos Santana and Buddy Guy. James has also received eight Juno Awards and 31 Maple Blues Awards.
On his latest “Chasing the Sun” the prodigious bluesman is not only bolstered by such musical compadres as session heavyweights Darryl Jones and Charlie Drayton on bass and drums, respectively, backing vocalists Ann and Regina McCrary, prolific songstress ,icon Lucinda Williams, harmonica legend Charlie Musselwhite and co-producer/guitarist Colin Linden, but the songs totally rise to the occasion as well.
I’m Still Alive
Lucinda Williams does a guest shot on her song with James entitled “Protection.” It’s a song about keeping one safe from all the negativity and the slings and arrows flung at you when you’re trying to stay on the path of personal and spiritual righteousness. James and Williams trade off vocals and it’s a powerful way to open the album. “I’m Still Alive” is some minor and moody blues. Lyrically it cuts right to the bone with hooks like,” I just need some space to breathe, after all the miles and speed. Slow down on this one way track, I chose a road and I never looked back.” The single “Devilment” is just hitting radio and features stellar harmonica from Musselwhite. Great gritty guitar work and a spare open pocket by Drayton make this a standout. “How it Feels To Be Loved” has got AAA radio written all over it. It’s got a strong R&B presence and a nice breakdown at the end for audience participation. Songs like “Star-Studded Sky” and “This Song Kills Hate” run that gamut from hopelessly romantic to hopeful and socio-politically aware. The great Paul Butterfield is immortalized by James, with his take on the classic tome “In My Own Dream.” And the album closer “Open Your Mind” is not only hypnotic in its trance-like arrangement, but it is lyrically reflective of where James is at in his vocal approach and spiritual demeanor.
“Chasing the Sun” is a record for those that have followed his career thus far. But there are so many exceptional tunes on here that should appeal to the classic rock and Americana faithful as well.
Sarah D’Angelo
“Medicine Man” album
PKO Records
Sarah D’Angelo currently resides in Ann Arbor, Michigan and is an in-demand vocalist and clarinetist. She regularly sings in the Detroit area with big bands like the Paul Keller Orchestra. She has also shared the stage with such jazz luminaries as Cecile McLorin Salvant, John Pizzarelli, Paquito D’Rivera, Anat Cohen and many others.
“Medicine Man” is the leader’s first solo album and was released in 2020. It is very much medicine for the mind and soul, as D’Angelo’s angelic voice is just what the doctor ordered. It is an interesting record in that, while she engages in many traditional jazz forms, the singer is not subservient to them. D’Angelo has her own style and it is reflected most astutely through the 14 tracks here.
Joining her on this audio adventure is her core band, including Kevin Grenier on piano, Michael Palazzolo on acoustic bass, and Jesse Kramer on drums. On the songs “Roots,” “Reverie” and “Wild is the Wind” the festivities include Paul Keller on bass, Corey Kendrick on piano, Sasha Kashperko on guitar and Stephen Beogelhold on drums. On the song “Bittersweet” Glenn Tucker plays piano and on “You Don’t Know” Bobby Strong is on tenor saxophone. Mark D’Angelo also makes key appearances at various points on percussion as well.
Medicine Man
The blonde vocalist’s style is lush and intimate, with vibrancy and attention to nuanced phrasing that is impeccable. The run down begins with “Poco’s Lament.” It’s a cool and elegant waltz that swings effortlessly by way of Grenier’s lithe piano and Kramer’s rubato rhythm patterns. D’Angelo uses her voice in an animated way on the follow up “Roots.” Kashperko’s chord comping in concert with Kendrick’s piano phrasing really makes a statement. “Throw it Away” is a lovely samba, with a smart bass solo from Palazzolo. “What a Friend” features electric piano and D’Angelo’s double tracked harmonies. It takes on a satisfying pop feel ala Patti Austin or Angela Bofill. “Harvest Time” is a sweet ballad that spotlights the first time we hear the leader’s clarinet prowess. It begins with long instrumental passages and leads in to a beautiful vocal that evolves in a very organic way. “Reverie” follows and picks up the pace, with a jaunty and bubbly feel and a rousing effort by the ensemble. “Farewell Dolly” is kind of unorthodox in its use of Indian percussion and solo bass. D’Angelo adds a splash of experimental color to her palette and it is a highlight. “Bittersweet” is a thoughtful ballad that features more of D’Angelo’s virtuosic woodwind work and emotive vocals. “Love is the Answer” takes on kind of an Eliane Elias feel. Nice harmonies and stellar Rhodes-like piano work set this samba aflame. “Con Alma” is another fine use of Latin rhythms and the leader’s wonderful vocal phrasing. The title track “Medicine Man” seems to appropriately define D’Angelo’s sound of rich, gossamer tones and evocative rhythms. “Tell Him” is soulful and romantic. The leader’s smooth and seductive vocals grab you and draw the listener in. Conversely, “Wild is the Wind” has more of an orchestral structure, with a seemingly tight piano and clarinet arrangement and light percussion. This is late night mellow jam type stuff. The album concludes with the soulful and spiritual “You Don’t Know.” D’Angelo takes you to church in a secular way and Strong seals the deal on some wailing sax.
Sarah D’Angelo is an artist in the total sense of the word. With perfect pitch, a keen sense of melody and her tasteful arrangement skills she is a triple threat you, no doubt, will be hearing more about in the near future.
Mandoki Soulmates
Mandoki Soulmates
“A Memory of Our Future” album
Inside Out/Sony Music
Leslie Mandoki is kind of like the Hungarian Quincy Jones. That’s how folks like Toto guitarist Steve Lukather and legendary Return to Forever guitarist Al DiMeola have described him. Mandoki is an accomplished drummer, percussionist, vocalist, composer, arranger and producer that, not only knows music inside and out, but knows people. Over the past 30 plus years he has been bringing musicians together from all walks of life and all genres to participate in his recording projects. And the projects have expanded over the years from collaborative songs on record to live concerts performed throughout the globe.
Imagine a dream band where top flight Grammy-winning talent from the rock, pop, jazz and world beat cognoscenti converge to make monumental music dedicated to peace, enlightenment and mutual understanding. Well, that’s Mandoki’s goal, and coming up on this, his 16th release, the Mandoki Soulmates are destined for, perhaps, their biggest global smash yet.
Blood In the Water
Over the past 30 years, seemingly everybody who is anybody has clamored to be involved in Madoki’s world. The afore-mentioned Lukather and DiMeola, the late Cream bassist Jack Bruce, Blood ,Sweat and Tears vocalist David Clayton-Thomas, Chaka Khan, German jazz saxophonist/composer Klaus Doldinger, Toto vocalist Bobby Kimball, Greg Lake and countless others have all heeded Mandoki’s call.
On this current recording, Many of the alumni and new recruits have thrown their musical hats in the ring, including Jethro Tull’s Ian Anderson, guitarist Mike Stern, drummer Simon Phillips, trumpeter Randy Brecker, saxophonist Bill Evans, Supertramp’s John Helliwell, keyboardist Tony Carey, Till Bronner, Core Henry, Nick Van Eede, Jesse Siebenberg, Mark Hart, Julia Mandoki, Steve Bailey and Richard Bona.
On “A Memory of Our Future” all of the songs center on the challenges of our modern world and the global situation, along with slice of life observations from Mandoki himself. But, as with all the previous Mandoki Soulmates releases, there is always positivity and hope that wins the day.
Using shark-infested waters as a metaphor, opening track “Blood in the Water” addresses individuality, the global economic crisis and a state of being where, “We’re all swimming against the current ‘cause we’re a little different.” The unmistakable flute of Ian Anderson kicks off the vocal refrain and a pulsing rhythmic groove. “Enigma of Reason” follows and has a pensive, semi-classical feel, with Al DiMeola’s lovely Spanish guitar decorating the track throughout. The song’s somewhat somber mood builds to a stunning crescendo. As afore-mentioned, this is, perhaps, one of Mandoki’s more personal records in the sense that he blends songs of broader concerns, with semi-autobiographical and centric points of view. “The Wanderer” is one of those kinds of songs. In it, Mandoki appears to offer advice to his younger self, with lyrics like “These are surely trying years. In these dark days my son, your time has come. One day when I’m gone. My son with the summer in his backpack. Maybe he finds his way back home. When I was your age, my son, I was a wanderer myself.”
“The Big Quit” is a clever and no holds-barred statement on post-pandemic burnout as it relates to the American work ethic and finding a personal comfort zone in life. Musically it’s a mix of classical, R&B, rock and jazz motifs, with mercurial interplay between the soloists. “Devil’s Encyclopedia” continues frank commentary on the state of social media and the manner in which it all affects us as a society. There are no judgments from Mandoki and company, overall, just suggestions for how we can navigate through it all. The title track “A Memory of Our Future” features trippy lyrics and seamless interwoven guitar and horn melodies. Randy Brecker and Al DiMeola lead the charge with some fine solos. “I Am Because You Are” is another auto-biographical kind of piece. It’s an insightful tone poem that brings out the orchestral and symphonic side of Mandoki’s creative reach. Fausto Beccalossi’s superb accordion adds a serene lushness to the track.
“My Share of Your Life” further fosters that velvety tone and adds a cinematic flair as well. It’s a somewhat somber ballad, with a thoughtful mood. “Age of Thought” is an instrumental featuring Brecker and guitarist Stern. World beat, with a European sensibility creates a gypsy-like feel. “Matchbox Racing” finds Mandoki recalling the words of his father when he lived in Hungary behind the Iron Curtain. His father said, “Don’t dream your life, but live your dreams.” And you can almost sense the emotional tears streaming down Mandoki’s face as he recalls those words that helped shape his musical direction in life. “We Stay Loud” is a brash rock and jazzy call to arms. It’s a powerful statement where, “We’re rewinding, we’re reloading for a restart. We stay loud! …..Let’s swim against the current and be different!” The finale “Melting Pot” is an apropos instrumental featuring many of the soloists here, including Cory Henry on keyboards, John Helliwell on woodwinds, Richard Bona on bass and Deobrat Mishra on sitar. That’s quite a “melting pot,” indeed!
In addition to the stellar performances from all participants, the consumer is in for a real treat. The CD and, vinyl packaging is wonderfully detailed, with photos, lyrics and liner notes. And, for you audiophiles, the all analog production warmth in this sometimes sterile digital age, really makes music of a higher caliber such as this, really come alive!
