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Cal Tjader: The Best of Cal Tjader Live at the Monterey Jazz Festival

September 2, 2008 / Michael Fortes

For the late West Coast vibraphone master Cal Tjader’s entry in the series of live discs issued by the Monterey Jazz Festival’s archival record label, performances from his dates at the annual event have been cherry-picked, spanning five dates between 1958 and 1980. Aside from the gloriously consistent fidelity of all the recordings – the ’58 sessions sound just as crystal clear as the ‘70s and ‘80s recordings – the voice he developed apart from peers like Milt Jackson and Bobby Hutcherson comes through loud and clear. Though his bop tunes from ’58 with pianist Vince Guaraldi, bassist Al McKibbon and drummer Willie Bobo are fine and dandy, it’s the Latin tracks that really put this disc over the top. Especially of note is the conga- and timbale-infused ’72 performance of “Mateca,” which stretches out for over 12 minutes and features fetching cameos from Dizzy Gillespie and Clark Terry, not to mention Mitchell Wolf’s awesome electric piano comping. Add a stately ballad from ’77 (“If You Could See Me Now”) and a little bossa nova (“Speak Low”), and Cal’s bases are pretty much covered here. (Monterey Jazz Festival 2008)

Monterey Jazz Festival Records MySpace page

CD QuickTakes, CD Reviews, Jazz

The Crash: Pony Ride

September 1, 2008 / Lee Zimmerman

Pony Ride, the latest outing by Finnish band the Crash, offers an unapologetic approach that melds perky rhythms, gushing sentiment and giddy attitudes to catchy, cushy melodies and a penchant for ‘70s-style soul (think the Jacksons, Average White Band, Culture Club or Simply Red). Singer Teemu Brunila mimics an androgynous style that recalls Michael Jackson, Boy George and Mick Hucknall’s smooth croon for good measure. Oftentimes, the Crash sound kinky – the soaring strings and stately piano ballad “Lauren” seems to be about a stalker, a precursor to a later number actually called “Stalker.” Its follow-up, “Filthy Flower” (“You’re a filthy flower/I could be your lover/But I want to be your man”), shows a certain pride in their prurient desires. “I hope we’ll make it to the radio/I hope we’ll make it to the stadiums,” they coo on the soulful closer “Backstage.” Given their effusive sound, it’s safe to say the Crash can. (Ryko Music)

The Crash MySpace page

CD Reviews, Pop, R&B, Soul

The Moody Blues: Live at the Isle of Wight Festival

August 29, 2008 / David Medsker

This is going to make a small group of people very happy. Taken from the last of the original Isle of Wight Festivals before its resurrection 22 years later – the crowd that attended was estimated to be over 600,000 – the 1970 concert was videotaped for posterity, and now, nearly three decades later, comes an audio recording of the set from Moody Blues, who were as big as any band in England at the time. It’s a fascinating listen, both from a sonic perspective and a historical one. “Minstrel’s Song” explains the origins of half of the Stone Roses’ debut album, and it’s fun to hear a band known for its pristine studio recordings let rip on songs like “Tuesday Afternoon” (where singer Justin Hayward forgets the words) and “Question.” In retrospect, the Moodys weren’t much different from their harder-rocking peers when it came to playing live. As for the overall sound quality, well, it’s 1970 and it’s live, which means it’s really, really tinny. It’s a sweet dose of nostalgia, but for completists only. (Eagle)

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CD QuickTakes, CD Reviews, Concert CDs, Pop, Rock

Johnny Flynn: A Larum

August 29, 2008 / Lee Zimmerman

Combining a sturdy stance with a penchant for swagger and sway, newcomer Johnny Flynn borrows heavily from Brit folk forebears like John Renbourn and Bert Jansch through his authoritative debut. Relying mostly on the strum of an acoustic guitar, an occasional fiddle, hints of brass and a melodious vocal that commands attention on first hearing, he’s too trad to be labeled nu-folk, but too much of an upstart in attitude to be classified as old school, either. Mainly he’s an artist that gravitates towards piercing melodies and an affecting delivery, one whose songs reflect a somber stance. “Tickle Me Pink,” as its title implies, reveals a rare moment of giddy delight, while the driving tempo of “Eyeless in Holloway” will likely entice the pub crawlers. Mostly though, this a steady, unwavering set of tunes, one that reflects a workingman’s outlook and approach. Indeed, Flynn sounds wise beyond his 25 years (“A Larum” is middle English for “Alarm” it turns out, a bow to scholastic aptitude no doubt), but his rollicking rhythms hint at a youthful zeal that’s barely repressed. (Lost Highway)

Johnny Flynn MySpace page

CD QuickTakes, CD Reviews, Folk

Inara George With Van Dyke Parks: An Invitation

August 29, 2008 / Lee Zimmerman

A reconnection in ways more than musical, Inara George’s collaboration with the legendary Van Dyke Parks takes her into new terrain but, in a sense, brings her back home. Parks was a pal of her dad, the late Lowell George and was even there at her birth. Still, the biographical details will likely get less attention than this current outing, a swirling collage of orchestration, pop opera vignettes and contemporary classical motifs. Consequently, the sound checks proved equally ample, given influences that name check Kurt Weill, Edith Piaff, Aaron Copeland, Gilbert and Sullivan, Annette Peacock and Carla Bley. The lack of distinctive melodies and an overall flow that finds sets of strings dominating the musical landscape makes passive listening a bit of a challenge, at least for those who like their songs simple and succinct. Still, those looking to hear more from the man who helped bring Brian Wilson his Smile will find this Invitation worthy of an RSVP. (Everloving Records)

Inara George MySpace page

Alternative, CD QuickTakes, CD Reviews, Folk, Indie Labels, Rock