Halie Loren - After Dark

Halie Loren - After Dark

2010, White Moon Productions

 The past year has been a momentous one for Halie Loren.  Winning the Just Plain Folks Award for Best Jazz Vocal album to becoming a major label artist in Japan (her album They Oughta Write A Song went to #1 on the Amazon Japan charts and stayed in the top-10 for several days.  The crowds in Japan have been growing, and would seem to portend the success that seems inevitable back home in the States.  Loren also released a successful live album, Stages, showing off the line energy that makes her an in-demand performer.  Loren returns on November 16, 2010 with a new album of studio recordings.  After Dark mixes original and cover tunes and shows a somewhat lighter side of Loren, who is again joined by capable skills of pianist Matt Treder, bassist Mark Schneider, Chris Ward on guitar and Brian West (percussion), with guest appearances by guitarist Jack Jezzro.

Loren opens with “After Dark”, a theatrical ballad of forbidden love perfected in secret.  Loren burns with desire, the many levels and textures of her vocal sound sparkling in the dark light of sensuality and longing.  This is an amazing start full of power and emotion.  Loren sings in English and Spanish on Jobim’s “Waters Of March”, finding a place that is subtle and refined but thoroughly in the moment of the song.  “Gray To Grand” is a Loren-penned piece of sweet and breezy jazz/pop with a pretty melody and a light feel; a nice change of pace with a developing worldview full of optimism.

“La Vie En Rose” is one of those songs that artists tackle almost at their own peril.  Edith Piaf being the icon that she is, her signature song is one that gets butchered more often than not.  Halie Loren gives a bravura performance in flawless French, as if she were born to sing it.  “Thirsty”, another Loren original, is a song of unequivocal longing and desire with an arrangement that sounds like it might have come out of a Sting recording session circa 1988.  It’s an amazing bit of songwriting and seems to represent a step forward for Loren as a songwriter.  Loren goes a bit free form in her take on Ray Henderson and Mort Dixon’s “Bye Bye Blackbird”, offering a highly interpretive vocal.  Loren works this for all it’s worth in a flawless performance.  The band is right there with her at every step, with pianist Matt Treder in particular standing out. 

Loren interprets Bobbie Gentry’s “Ode To Billie Joe” as a slinky blues number and absolutely inhabits the song.  This is one of those performances after which you simply sit back and say, “Wow.”  Loren takes the air of mystery of the original and raises it a notch.  John Shipe joins Halie Loren for a duet on “Beyond The Sea”.  This is an opposites attract pairing, as Shipe vocally sounds like a lightweight next to Halie Loren’s full voice.  The mix works because of the contrast, but they do sound mismatched at times.  Loren takes on Duke Ellington’s “In A Sentimental Mood” in another “Wow” moment that smooth and lush; artful and rife with emotion.   Loren has fun with Stevie Wonder’s “Happier Than The Morning Sun”, a celebratory love song that’s jubilant in its aspect and refined.

Loren gives Tracey Chapman’s “Give Me One Reason” a surprising read; putting her own distinctive stamp on the tune.  It might take a couple of listens to get into this arrangement, but the song will grow on you.  “It’s You” is a sensual song detailing a long distance love affair.  It’s the textures of Loren’s voice that stand out in a chill-inducing performance.  Jack Jezzro takes on final turn on “Time To Say Goodbye”, while Loren makes the chorus absolutely soar with nuance and a sort of beautiful grit.  It’s a magical moment where the artist, Loren, rises above her art into the sublime.  After Dark closes with a cover of Joni Mitchell’s “Carey”, blending Caribbean, swing and pop styles.

It’s hard to imagine Halie Loren not being a star.  With a masterful voice that’s part Etta James and part Sarah McLachlan, a subtle touch that allows her to blend vulnerability and sensuality unlike any other artist currently in jazz or pop music, and a talent for phrasing that’s uncanny, Halie Loren is the complete package.  After Dark shows a slightly lighter side to Halie Loren, but at the same time shows her gaining gravitas as a performer.  This could be the breakout album in the US; the one that takes Halie Loren from a known quantity to the status of being a big name.  Whatever happens on the charts or in the popular media, there will be little doubt to those in the know that After Dark is one of the finest vocal jazz albums of 2010.  It’s certainly a Wildy’s World Certified Desert Island Disc, a must have album.

Rating: 5 Stars (Out of 5)

Learn more about Halie Loren at http://www.halieloren.com/ or www.myspace.com/halieloren. After Dark drops on November 16, 2010.  Pre-orders are available from Amazon.com for both CD and Download.

Claudette King - We're Onto Something

Claudette King - We're Onto Something
2010, Blues Express

If your father is B.B. King it sure can open a lot of doors for you; then again the expectations are preternaturally high. Claudette King has been wowing audiences in San Francisco since the mid-1980's and has graced the stage of the Monterey Blues Festival, but has somehow maintained a relatively low level of recognition for her work. All of that should change with the September 21, 2010 release of King's debut album We're Onto Something. Produced by Steve Savage (Robert Cray, Elvin Bishop), We're Onto Something features appearances by Donto James and Sametto James (sons of Etta James), and songwriting from Dennis Walker (B.B. King, Robert Cray, Bettye Lavette) and Alan Mirikitani (Bettye Lavette), and highlights King's versatile voice and playful personality.

We're Onto Something opens with "Can I Walk You To Your Car", a wicked little number with barely disguised intentions. King shines with her love of the music here; her voice teasing and sensuous with the hints of hard living sewn in the seams. The arrangement might be called big band blues, as King and the band blur the lines between blues and jazz, and not for the last time. "Whole Lotta Nothing" is a reflection on a relationship where much is given and little is returned. King handles this with aplomb. One of the unique characteristics of King's voice is that she occasionally lapses into a vocal sound that's nearly of a child, yet this sound is tempered with the texture and weight of her voice. Some might find this an affectation, but it marks King's voice as distinct and is a highly expressive tool in her singing arsenal.

"Too Little Too Late" is a melancholy kiss-off song that sounds more like a 1960's pop ballad, balancing on the line between singer/songwriter pastiche and early Motown. "We're Onto Something" is a more positive love song, delivered in classic style. While the song gives the album its name, it’s perhaps the weakest track on the disc (which is not to say it lacks; simply that King seems the least herself here). King digs into the good time feel of "Playing With My Friends" with Frankie Lee sitting in on the vocal duet. It's a classic early R&B turn that will have your toes tapping and is certain to be a favorite in the live show. "A Dog Like You" explores the futility of trying to change a man who's prone to roam. Blues, R&B and pop creep into this dynamic arrangement as King moves from trepidation to reveling in the pleasures of indignity.

"Boogie Some" is an urgent little funk number about the sort of dance that needs no music but has a rhythm all its own. Subtlety doesn't enter into the equation as King states her intentions in no uncertain terms. It's a titillating little number that's certain to get heart rates rising on the dance floor and at live shows. "Isn't Peace The Least We Can Do" is somewhat self-explanatory, a moral diatribe against war and hatred. The song has a gospel component, invoking Jesus' sacrifice while staying firmly in a cool jazz arrangement with some funk in its genes. King closes with the heartfelt "Easier Alone", a classic swan song steeped in the blues tradition but falling more in the R&B/Pop realm.

Claudette King has the pipes and the versatility to step out the rather impressive shadow of her father, B.B. King. It's not uncommon to find the children of famous musicians making music that might not be heard at a macro level if it weren't for their bloodlines. Claudette King clearly does not fall into the nepotism exception category. King has class and grace as a vocalist, but isn't afraid to dig into the seamier side of the human condition, playing each role to the hilt; singing each song from the heart. We're Onto Something, indeed.

Rating: 4 Stars (Out of 5)

As of publication date, Claudette King does not appear to have a website, Facebook or MySpace page.  Her label, http://www.bluesexpress.com/ may have more information in the near future.  We're Onto Something drops September 21, 2010.  You can pre-order the CD (listed simple as Onto Something) from Amazon.com or CD Universe.  Expect wide digital availability once the release goes live.

Halie Loren - Stages

Halie Loren - Stages
2010, White Moon Productions

No matter how vibrant the performer; no matter how talented the producer, it's simply not possible to get the full power of a live show into a studio recording. Even one-off sessions with no overdubs fail to get the whole aural picture on tape. This seems an important consideration as I sit here listening to Wildy’s World Artist Of The Month for June, 2010 Halie Loren's newest album, Stages, recorded during 2009 at two different venues in Oregon. Loren has an amazing voice, warm and sultry in a way that recalls the Great Ladies of Song. That voice has always been apparent on her albums Full Circle and They Oughta Write A Song, but if you want to be blown away, grab a copy of Stages and get comfy.

Stages opens with "Danger In Loving You", a virtuosic opening that recalls names like Etta James, Sarah Vaughan and Billie Holliday. Loren has the innate ability to sell a song like she's lived it, making the experience so real that listeners can lose themselves for a moment. "On A Sunny Afternoon" is to the same level, but allows Loren's band to show off a bit. Particularly notable here is pianist Matt Treder, who brings the backdrop alive with a piano part that's so vibrant it's practically alive. Loren's take on U2's "I Still Haven't Found What I'm Looking For" sounds as if it might have been arranged by Hoagy Carmichael; keeping the essential melody intact but taking some mixolydian liberties in the process. On this tune in particular Loren sounds like a cross between Norah Jones and Sade, offering a soulful twist on her warm alto.

"More" starts out in a 1970's singer/songwriter pastiche before turning into a classic cabaret tune. Loren waxes poetic on her perfect love and questions whether her current love matches up to the ideal. The song alternates between a dreamy, pensive chorus and upbeat, jaunty verses and sounds like it might have come from a stage show. Loren really digs in on the classic "Cry Me A River", leaving goose bumps in her wake. You'll walk away thinking you finally heard the song as Arthur Hamilton originally envisioned it as he put pen to paper. Loren's take on Antonia Carlos Jobim's "The Girl From Ipanema" is lighter fare but no less inspired; capturing the carefree feel of the original.

On "Free To Be Loved By Me", Loren has a magical moment. Back in singer/songwriter mode, Loren delivers a tune that could have been a top-10 pop hit in the mid-1970's, and might still take the charts by storm in a country arrangement in today's marketplace. It's a brilliant tune, and plays exceedingly well live, where Loren sells it like a Tony-winning actress. Moving quickly to pick up the pace, Loren and band launch into Louis Jordan's "Is You Is Or Is You Ain't My Baby", done in a peppy, syncopated arrangement that will have your toes tapping from the outset. Loren shifts once again into "Great Ladies Of Song" mode for "Love Me Like A River Does", offering a textured, nuanced and ultimately beautiful vocal performance. Bassist Mark Schneider provides rhythmic and musical support with a line that stumbles, and then walks as Loren asks for it all. Pianist Matt Treder fills around them like the air we breathe, creating an amazing ensemble that's as in-sync for the three and a half minutes of the song as it’s possible to get.

Loren's "They Oughta Write A Song" has the sound of a classic jazz vocal tune, but is a Loren original. It's the title track of her last studio album, which was recently released in Japan by Victor Records. Loren's performance here is flawless. "High Heel Blues" offers a moment of whimsy as Loren sings about the draw a great pair of shoes can have, and the afflictions caused by a good pair of high heel shoes. It's a Capella blues and a real connection with the crowd that happens to allow listeners to hear the full tone and color of Loren's voice devoid of surrounding instrumentation. After such a diversion, you'd expect a song of impact. Loren chooses "Summertime", one of the best known songs in the Gershwin catalogue. This one's been done so many times it can either be a safe choice or a disastrous one. There are enough great versions of "Summertime" out there to make anything less than magic seem mundane. Loren delivers with a warm delivery and an understated read on the tune that eschews the histrionics many modern singers try to inject into the song. Stages closes with gentle calypso of "Rainbow Race", a song about the need for all peoples to get along and live together. It's a sweet tune, a fitting concert close with a gentle social message but light enough to end the show on a bright note.

Haley Loren continues to grow and develop as an artist, and she's seeing the fruits of her labors. Her previous album, They Oughta Write A Song, recently crested in the top-20 albums in Japan. It's only a matter of time before Loren sees the same sort of numbers on this side of the Pacific. It's already reached a point where if you want to talk about the best female jazz vocalists working today, a discussion that doesn't include Loren in the mix is incomplete. Stages is brilliant, capturing Loren in a live setting, where the warm textures of her voice and her pitch-perfect phrasing blend with a band that supports her flawlessly. Halie Loren is the sort of vocalist who comes along once or twice a generation, combining technical ability, sound, passion, sensuality and a natural ability to connect with listeners; she creates magic on stage, as on Stages. Stages is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Halie Loren at http://www.halieloren.com/ or www.myspace.com/halieloren. You can order Stages and any of Loren's other albums on CD through her website in the store section. You can also order the album as either a CD or Download from Amazon.com.

Review: Dick Wagner - Full Meltdown

Dick Wagner - Full Meltdown
2009, Desert Dreams Records

Dick Wagner is a quiet legend. You've heard him play guitar many times, and you've heard many of his songs over the years even if you have no idea who he is. Wagner was Alice Cooper's musical director and guitarist in Cooper's heyday, co-writing some of Cooper's biggest hits. He's played lead guitar on or written songs for folks such as Aerosmith, KISS, Peter Gabriel, Ringo Starr, Lou Reed, Meat Loaf, Hall & Oates, Tina Turner, Etta James, Air Supply and Burton Cummings; appearing on 150 albums (14 platinum, 16 gold, 5 silver). Wagner is also the recipient of several BMI songwriting awards over the years. Wagner writes for himself on his latest album, Full Meltdown, showing a much softer touch than you might have expected.

Full Meltdown opens with Still Hungry, a surprisingly reserved opener considering the subject matter of the song. The title suggests a drive that just isn't represented in the easy-listening rock arrangement. The song is decent enough, just something of a dichotomy. Blue Collar Babies is a youthful fantasy about fast cars, parties and all that comes with being wild and young. It's a tuneful song, catchy in demure fashion, but has a bit of midlife crisis feel to it. Insatiable Girl feels more like classic Rock N Roll, like something you might hear on AOR radio. Wagner captures a sweet sound on Another Twist Of The Knife, hitting stride like a 1980's glam rock act. You could almost picture Whitesnake or someone of similar ilk ripping into this tune. Wagner breaks into a cover of Stagger Lee, a classic rock take that's most similar to Lloyd Price's 1959 rendition. Wagner's guitar work here is particularly sharp, and the rendition in general sounds a bit like Elton John.

Wagner gets back to that Elton feel on These Days, a piano and voice ballad that carries the prettiest melody on the album. Wagner digresses into dreamy, melancholy rock on I Might As Well Be On Mars before revving things up a little for Steal The Thunder. The energy here is still a bit low-key but works in the guitar-revved sound. The dreamy sound returns for Darkest Hour before getting shoved gently aside by Motor City Showdown and its Elton John style theme. Wagner closes out with the dark ballad Feel It All Over, taking it up to mid-tempo in the chorus and dropping in some great guitar filler along the way.

Full Meltdown is a pleasant listen but never reaches critical mass. Dick Wagner is very capable with a guitar in his hands, and possesses a voice that deserves to be heard, but Full Meltdown feels like a project that was never fully committed to. The intensity in the vocal line often doesn't match the lyrics or the musical drive of a given tune. This is late-stage Boomer rock; keen enough on the tricks of the trade to sound relevant, but once you get beneath the surface the water isn't terribly deep. A pleasant musical snack, but not enough for a meal.

Rating: 2.5 Stars (Out of 5)

You can learn more about Dick Wagner at http://www.wagnermusic.com/ or http://www.desertdreamsllc.com/. You can purchase Full Meltdown as either a CD or Download from CDBaby.com.

Review: Chocolate Thunder - Ear Candy

Chocolate Thunder - Ear Candy
2009, Chocolate Thunder

Linda Rodney has done the acting thing. She's done the modeling thing; but music has always been her first love. Singing in church as a youngster, Rodney quickly stood out from the other kids with a big, powerful voice that you simply could not ignore. She was also exposed to many of the greats of R&B and Blues as a child, from Muddy Waters to Shirley Cesar to the Queen Of Soul, Aretha Franklin herself. After training with internationally known opera singer Sarah Reece, Linda began performing and touring, sharing stages over time with the likes of Elmore James, Jr., Main Street Blues Band, Little Pink Anderson and B.B. King. Performing under the name of Chocolate Thunder, Rodney's popularity began to grow. Due to popular demand from fans, Chocolate Thunder released her debut album in 2007. In 2009, she returns with Ear Candy, a collection that ranges from Blues to Soul to classic R&B.

Ear Candy opens with Love Thang, a classic 1970's Soul/Funk song. It's not the best on the album but a fair stylistic opening. Love Thang gives a clear picture of Chocolate Thunder's voice: It's big; it's powerful and it can move a crowd. There is an occasionally tendency toward to flat out in runs and transitions, most notable on the opening track, but Rodney's personality is so very much a part of the song that you might not even notice. Power Of A Lady gets into a 1970's Motown feel that's comfortable but doesn't really reach Chocolate Thunder's potential. Rodney hits full speed on Other Side Of Memphis, a classic Motown-style tune that would have been the rage of radio forty years ago. The brass section here is a great touch, but Rodney sells this song like she's lived it. It's All Good blends elements of Gospel and Jazz with a Caribbean touch and is my personal favorite on the disc.

Rodney wrote My Georgia Pine for her husband, and her conviction on the song is compelling, even if the lyrics come across as a bit "hokey love song" at times. Bring It On is presented in a fairly standard modern R&B arrangement but has the feel of a classic that's been updated. I like the song as presented but hear great potential in the song perhaps in other stylistic arrangements. Just Gotta Tell Ya hints at 1950's and early 60's girl groups; this is a great song that's right up there with It's All Good. Chocolate Thunder closes out with 555-Help, a classic mix of Rock, Gospel and R&B.

Chocolate Thunder is a compelling performer for a reputation for grabbing listeners by the ears and not letting go until the performance is over. Her voice isn't quite up there with idols like Aretha Franklin or Etta James, but it's quite good. Combine that voice with a dynamic personality and a compelling ability to sell a song and I'd have to say Chocolate Thunder has the potential to go a long way in this business. Ear Candy is a strong album with a couple of stand out tracks and a couple of duds, but is generally a strong mix of Rock, R&B, Soul and Gospel. Ear Candy has broad appeal.

Rating: 3.5 Stars (Out of 5)

You can learn more about Chocolate Thunder at http://www.cthunder.com/ or www.myspace.com/chocolatethunder1. You can purchase Ear Candy as either a CD or download from www.cdbaby.com/cd/cthunder2.

Review: Sarah Brooks And Graceful Soul - Under The Bones Of The Great Blue Whale

Sarah Brooks And Graceful Soul - Under The Bones Of The Great Blue Whale
2008, Whaling City Sound

You take classic material, an all-star band, a unique setting, a dash of luck and a vocalist with the command, power and soul of Sarah Brooks, thrown them all together and you get magic. Under The Bones Of The Great Whale is the ultimate document of this experiment in musical alchemy, and what a gem it is. Brooks has the sort of voice that transcends genre and time. Hers is a powerful instrument built for Jazz and The Blues, but also adept at R&B, Soul and Rock.

Under The Bones Of The Great Blue Whale opens with Brooks breathing new life into Sam Cooke's Bring It On Home To Me. This may be the most vibrant version I've heard since the original, and aficionados may fall on their knees proclaiming the second coming of Etta James. Burt Bacharach's Look Of Love gets similarly iconic treatment, with Brooks making the song in her own without stepping on the coattails on Bacharach's opus. Chain Of Fools might not quite threaten Aretha's classic version, but Brooks is at least in the same room with a faithful rendition built on a little more funk than the original. Even the Beatles get drawn into the belly of the whale as Brooks puts up a lively and fun rendition of You Can't Do That; which is most memorable for the breakdown in the middle where you get to hear what the band is made of.

At Last (Etta James) is one of the highlights of the disc. This is one of those songs you just shouldn't do unless you're good enough to pull it off. Listen to American Idol auditions from any season and you'll know what I'm talking about. Brooks is all diva here, bringing down the house with a virtuosic vocal performance that does James proud. For all of that, Amazing Grace takes things one step further. Brooks transcends the moment and takes the audience and those listening at home to a magical place for nearly eight-and-a-half minutes. Graceful Soul provides some of the magic, to be sure, but Brooks commands all attention for this song, and rightfully so. The cover of Sting's Fragile is also highly recommended; Brooks is able to provide vocal texture to the song that Sting could never quite capture, although this version lacks the urgency of the original. Other highlights include The Chicken and a moving instrumental version of Amazing Grace.

Every once in a while an album will come along and surprise you for how good it is and how it hasn't gotten more attention. Under The Bones Of The Great Blue Whale is just such an album. Sarah Brooks should be a national talent, and the musicians that make up Graceful Soul should be right there with her. If the great ladies of song of the 1940's, 50's and 60's are your thing, then Sarah Brooks is someone you absolutely have to hear. Even if you don't know or care about that era, I still recommend Sarah Brooks and Graceful Soul highly. All musicians make music, but this is what magic sounds like.

Rating: 4.5 Stars (Out of 5)

You can learn more about Sarah Brooks and Graceful Soul at http://www.sarahbrooks.com/. You can purchase a copy of Under The Bones Of The Great Blue Whale at CD Universe.

Review: Jesse Dee - Bittersweet Batch

Jesse Dee – Bittersweet Batch
2008, 7not Records

Boston native and Burlington, Vermont resident Jesse Dee has a love for classic soul music that shines through everything he sings. Notably an artist and graphic designer, Jesse Dee made the decision to make a career of music. He’s already open for R&B Legend Al Green, and credits influences such as Otis Redding, Sam Cooke, Etta James and the old Chess vocal groups as influences. Jesse Dee is a former member of college favorites Decifunk, and also has done time with The Dirty Whites and Sea Monsters. Jesse Dee’s solo debut album, Bittersweet Batch, hit shelves in September of 2008. If it’s any indication you’ll be hearing a great deal more of Dee in the future.

Jesse Dee is the real deal. You won’t hear the sort of aural airbrushing on Bittersweet Batch that is some common these days. Dee’s voice is highly emotive and textured, with the sort of vocal flaws that made the classic R&B and Soul singers so distinctive and interesting to listen to. The album opens with Alright. Dee’s rough-velvet voice is right up there with Melinda Doolittle for bringing classic soul back into the spotlight. Slow Down is one of my favorites in the album, with a highly positive message and a great arrangement. This song will stay with you. Over & Over Again sounds like classic Motown, complete with Stax horns. Dee brings the funk on Reap What You Sow, a must-listen song. My Two Feet brings in the sounds of New Orleans on a great classic pop song. Dee revisits New Orleans on New Blades Of Grass; a song about Hurricane Katrina and about the will of New Orleans residents to rebuild and survive that tragedy. Be sure to check out Alive & Kickin’ as well; the biggest soul/rock/gospel/roadhouse sound on the album.

Jesse Dee kicks it old school on what may be the most traditional Soul/R&B release of the year for 2008. If you are a fan of these genres then Bittersweet Batch is a must-have disc.

Rating: 4 Stars (Out of 5)

You can learn more about Jesse Dee at http://www.myspace.com.jessedee/, where you can purchase a digital download of Bittersweet Batch.