Maria Rose & The Swiss Kicks - New Direction

Maria Rose & The Swiss Kicks - New Direction
2011, Maria Rose

Flint and Ypsilanti, Michigan are the co-homes of electro rock n soul trio Maria Rose & The Swiss Kicks.  Led by the powerful and soulful voice of Maria Rose, The Swiss Kicks power their way through an intriguing though sometimes muddled stylistic ménage on their debut EP, New Direction. 

Maria Rose & The Swiss Kicks get things started with "Velvet Cabaret", a musical biography of a strppr with dreams of owning her own French Café.  There's a morbid sort of pull to this song, as we hear the story of someone struggling to break free of a hard life.  It's never clear if our heroine will succeed, even though she's on the verge of her dream.  Maria Rose gives the whole affair a soulful and gritty read with a voice that will stick in your mind.  "Pineapple Wine" is a quirky folk/pop Boss nova; a sexy and sensual invitation to let down your hair and enjoy the moment.  "Angel Face" is a maudlin ballad that's half-hearted and vaguely depressed in sound.  There's a distinctive disconnect between the lyrics and the tone of the music presented here, enough so that it's distracting to the listener.

"Gypsy Of NYC" is another musical bio, this time of a young lady with quasi-magical qualities.  The arrangement and instrumentation is unique and compelling for pop music, even if the production does muddle the sound a bit.  "Wildcard" is catchy and intriguing; showcasing Maria Rose's voice in compelling fashion.  This is one of those songs that eat at you, growing on you slowly, over time.  The EP closes with "New Directions", an unfortunately apt tune that sounds something like Tori Amos and includes an unfortunate and non-committal rap.  This one just doesn't work all that well.

Maria Rose & The Swiss Kicks make a solid impression with New Direction, although the production on the album sounds incomplete at times.  The band skates the middle ground between acoustic band and full sound.  Unfortunately this half-measure doesn't seem to suite them well.  For whatever flaws New Direction might have, however, Maria Rose's voice can't be counted among them.  Rose will make you forget your troubles when she opens her mouth to sing.  The songwriting here is still developing and uneven, but the future looks bright for Maria Rose & The Swiss Kicks.

Rating: 3 Stars (out of 5)

Learn more about Maria Rose & The Swiss Kicks at www.mariarosekicks.com or www.myspace.com/mariarosemusic.  New Direction is available from Amazon.com as a CD or Download.  The album is also available via iTunes.

Antonia Bennett – Natural EP

Antonia Bennett – Natural EP
2010, MesaBlueMoonRecordings

Antonia Bennett practically grew up on stage.  The native of Beverly Hills is the daughter of singing legend Tony Bennett and actress Sharon Grant.  Bennett grew up performing with her famous dad, including stints on stage with Count Basie and his orchestra.  Bennett also grew up with advice and praise from such family friends as Frank Sinatra, Ella Fitzgerald, Dean Martin, Gene Kelly, Rosemary Clooney and Les Paul.   Bennett has studied at The Berklee College Of Music and the Lee Strasberg Theatre Institute, and has performed all over the world.  This fall Bennett released her debut EP, Natural.

Natural opens with “Soon”, a slow reflective number from the Gershwins that shows off Bennett’s sweet voice in fine form.  It’s a light but solid start.  The piano work on this number is exquisite and actually outshines Bennett.  Irving Berlin’s “Puttin’ On The Ritz” is also done in a slow, mellow arrangement that is not the best presentation for the song.  It does, however, allow Bennett to show off her gorgeous vocal tone.  Still this version of the song drags, and Bennett doesn’t bring a presence to carry it.  “The Thrill Is Gone” is in much the same ilk, pretty but bland.  “I Wish I Were In Love Again” is a Rodgers & Hart number (Babes In Arms) popularized by Judy Garland, and finds Bennett picking up the pace a bit in a solid performance.  “I Fall To Pieces” shows some improvement, but you’re left with the impression that Bennett’s heart isn’t really in the jazz material.  Natural closes with “Love Is A Battlefield”, a jazzified take on the Pat Benatar hit.  Bennett comes alive here on the vocal even as the arrangement essentially neuters the energy and edge of the original. 

The thing is that Natural simply isn’t.  There’s an air of pretense to the EP that just doesn’t fly, as if Antonia Bennett is starting with an EP of staid material because that’s what she grew up with.  There’s a higher level of commitment to the one rock tune on the disc even if it is watered down in a non-threatening arrangement.  Bennett has a beautiful voice, but her heart just doesn’t seem to be in it here.  Bennett has already moved on, and is currently working on an album of original pop tunes to be released sometime in 2011.  One might suspect that project will show a lot more life while continuing to feature a voice that truly is worth listening to.

Rating: 2.5 Stars (Out of 5)

Learn more about Antonia Bennett at www.antoniabennett.com or www.myspace.com/antoniabennett.  Natural is available as a download from Amazon.com and iTunes.

Review: Michele Thomas - I'll Take Romance

Michele Thomas - I'll Take Romance
2009, Michele Thomas

Chicago's Michele Thomas is a Jazz vocalist with a sweet voice and a predilection for the Jazz/Funk/Soul sound of the 1970's. Her debut album, I'll Take Romance focuses on standards, but you'll hear that 1970's sound slipping in and out from time to time. Thomas has a sweet voice within her comfort zone, but does struggle at times with pitch and tone when she stretches herself. There's not too much stretching on I'll Take Romance, however.

Thomas opens with the title track, and a velvety-smooth Jazz vocal that has some foibles but stands fairly well on its own. Thomas' band is top-notch, building arrangements around her voice that are pitch perfect. Black Nile brings Thomas into her upper register a bit. Thomas' doesn't have the knockout power of a Billie Holliday and isn't quite comfortable at the lower edge of her range, but in her comfort zone she's a fine vocalist. Thomas shines on Where Were You When I Needed You, a cover of Stevie Wonder's Superwoman (using the subtitle rather than the title). Thomas doesn't try to do too much with Wonder's creation, just lets the song be itself. The result is the best vocal performance on the disc.

Thomas gets to show off her scat skills on Charlie Parker's Marmaduke. Scat is a deceptive art; it sounds easy until you try to do it. The key is let go and let it happen - if you think it over too much it doesn't work. Thomas is brilliant here; mixing her voice with runs and solos on guitar, sax, trumpet and drums. Thomas takes on the Guy Wood/Robert Mellin penned My One And Only Love to great effect. This song perhaps doesn't get the respect it deserves these days, but in its time its been covered by the likes of Louis Armstrong, Doris Day & Andre Previn, John Coltrane & Johnny Hartman, Frank Sinatra, Ella Fitzgerald and Sting. Thomas is on the money once again in a reserved performance that's thoroughly in character with the song. Astrud Gilberto's Gentle Rain is up next, and Thomas gives it her all but starts to run up against her own limits on a challenging vocal line. Thomas' sound is still excellent, but this particular tune takes tremendous breath control and Thomas struggles a bit in a couple of the longer, slower passages. Thomas closes out wit Duke Ellington's Come Sunday in a heartfelt but vocally mixed performance. The synth-driven arrangement doesn't really suit the song all that well, and to strip it down this much you really need to be able to take control of the song, which Thomas never really does.

I'll Take Romance is a good start. Michele Thomas can certainly sing; it's her ambition that gets her into trouble. One some of the more challenging tracks on I'll Take Romance Thomas exposes her flaws, but in a day and age full of pitch-correcting software and endless over-dubbing it's refreshing to hear someone willing to stretch themselves and know what you do hear is real. Michele Thomas doesn't have the power to belt out songs, and sticks to surfing the more lyric side of jazz, generally to highly enjoyable effect.

Rating: 3 Stars (Out of 5)

You can learn more about Michele Thomas at http://www.michelethomas.net/. You can purchase Messenger as either a CD or Download from CDBaby.com.

Review: Sarah Bettens - Never Say Goodbye

Sarah Bettens - Never Say Goodbye
2008, Cocoon Music, LLC

Former K’s Choice vocalist Sarah Bettens returns with her fourth solo album, Never Say Goodbye. For Bettens, it’s the first release on her own imprint, Cocoon Music. A 2006 winner of the European Border Breakers Award for Best New Artist, Bettens has enjoyed chart success in Europe as well as placing/writing music for American television. As a member of K’s Choice, Bettens is responsible for several gold and platinum records in Europe. Never Say Goodbye is being marketed exclusively to fans on her current concert tour and through her website.

Bettens has a gorgeous, deep alto voice tempered by a dog-eared rasp that comes from years singing Rock N Roll, both individually and with the band K's Choice. This gruff but warm sound makes for particularly sultry listening on the more jazz-oriented material on Never Say Goodbye. Bettens gets things started with the Torch style of I Can Do Better Than You. It's a very enjoyable listen and just unexpected enough to hook you for the ride. Slow You Down shows a wonderful maturity in songwriting about a relationship where one partner does everything except leave for good. It's an amazing tune. Arthur Hamilton's Cry Me A River is up next. Originally written for Ella Fitzgerald to sing in the movie Pete Kelly's Blues, Fitzgerald never recorded the song until six years later because it was dropped from the movie. The popularized version was recorded by Julie London, and Bettens does her proud. It's just Bettens and piano, and Sarah Bettens is in her best voice.

Bettens hits mix-tape gold with Win Me Over. It's too bad the Pop Radio market is what it is these days. Win Me Over is chart gold, and I guarantee you that some artist down the road will release a version of this song and have a major hit with it. Whoever it is, I doubt they'll end up sounding as good as Bettens does here. Bettens tackles a Mike Reid/Allen Shamblin tune popularized by Bonnie Raitt next. I Can't Make You Love Me is a modern classic; Bettens treats it with reverence, injecting it with her own warmth and vulnerability in an unforgettable performance. One of my personal favorite songs on the disc is Scream; it's a piano-based tune about making with most of what you have. The song is poignant and a real treat. Bettens highlights the dangers of keeping a gun at home where small children live. Her viewpoint is obvious without sounding preachy and the melody is wonderful. Follow Me is an invitation to love and adventure; a musical fairy tell if you will. Romance is the highest goal here. Bettens closes out with a K's Choice tune, Not An Addict. It's an enjoyable version of the song, although not a favorite personally.

Sarah Bettens is probably more of a draw in Europe than the US these days, but audiences on the West side of the Atlantic really ought to be paying her more attention. Bettens has a wonderfully listenable voice and a knack for crafting intelligent and tuneful Pop/Rock songs that stick with you better than a bowl of oatmeal on a cold morning. Never Say Goodbye doesn't break significant new ground, but for pure listening enjoyment it's very much worth your time.

Rating: 4 Stars (Out of 5)

You can learn more about Sarah Bettens at http://www.sarahbettens.com/ or www.myspace.com/sarahbettens. You can purchase Never Say Goodbye through Bettens’ web store.

Review: Roberta Gambarini - So In Love

Roberta Gambarini - So In Love
2009, Decca Records/Emarcy/PGD

Roberta Gambarini built her reputation the old-fashioned way. A true road-warrior, she’s toured/performed with the likes of Ron Carter, Herbie Hancock, Slide Hampton, Roy Hargrove, Jimmy Heath and Toots Thielman, just to name a few. The native of Italy, who now calls the United States home, has one GRAMMY nomination under her belt, and has been dubbed by the great pianist Hank Jones as the “best singer to emerge in over 60 years”. (Jones has accompanied Ella Fitzgerald, Billy Holliday, Sarah Vaughan, Carmen McRae, Bing Crosby, Nat “King” Cole, Billy Eckstine and Frank Sinatra, just to name a few. On August 25, 2009, Decca Records releases Gambarini’s third album, So In Love, featuring guest appearances by James Moody, Roy Hargrove, Eric Gunnison, Chuck Berghorfer and George Mraz, to name a few. The album was recorded by Al Schmitt at Capitol Studios.

Gambarini is a vocalist with shades of Keely Smith's sharp alto and Ella Fitzgerald's warm tone in her voice. She opens So In Love with the title track in a fashion so sultry she could melt the microphone. Day In And Day Out finds Gambarini's smooth sound wending its way through a difficult melody line without every breaking a sweat. Get Out Of Town is the sort of performance you don't hear much of in vocal jazz anymore. Gambarini has this slight edge to her voice, but wraps it up in silk and taffeta while mesmerizing the listener into satisfied state. The arrangement here is ingenious, with the music growing almost out of thin air but never upstanding Gambarini while wrapping around her voice like a shawl. Gambarini gives a lyric and inspired performance of Patsy Cline's Crazy. There have been so many covers of this tune over time it's almost a cliché, and it’s rare to find an artist who truly does the song justice, but Gambarini makes the grade. Gambarini's take on That Old Black Magic is good but lacks the conviction that would make the song truly fly.

Switching to the popular realm, Gambarini takes on the Beatles with Golden Slumbers/Here There & Everywhere. He vocal take is gorgeous but the arrangement leaves something to be desired as it saps Here There & Everywhere of its vitality. From This Moment On finds Gambarini trying to keep pace with the great Ella Fitzgerald. This is one of those tunes you just don't do if you can't nail it and make it your own. Gambarini's version is good but just can't stand up to the original. Gambarini goes the stock standard route with You Must Believe In Spring and This Is Always before ripping off the roof with You Ain't Nothin' But A J.A.M.F. Scat fans take notice, Gambarini's got the pipes. Her performance here is absolutely inspired.
So In Love has some ups and downs, but there is no doubt that Roberta Gambarini should be considered one of the bright stars in vocal jazz. So In Love is a strong introduction and also a great learning tool, as it displays very clearly where Gambarini's strengths are and are not. If you're a fan of vocal jazz, and particularly the great Ladies of the 1930's and 1940's, then you'll definitely want to spend some time with So In Love.

Rating: 3.5 Stars (Out of 5)

You can learn more about Roberta Gambarini at http://www.robertagambarini.com/ or www.myspace.com/robertagambarini. So In Love drops August 25, 2009. You can pre-order the album through Amazon.com. Expect digital distribution through all major outlets, including Amazon.MP3 and iTunes.

Review: Ray Charles - Modern Sounds In Country And Western Music Volume 1 & 2

Ray Charles - Modern Sounds In Country And Western Music Volume 1 & 2
2009, Concord Records

We're only publishing one review because we want you to pay special attention to this one. Regardless of what genre of music piques your interest, there occasionally comes along a recording that crosses so many boundaries, and is so original or unique that it eventually becomes recognized as a master work. These are the sort of albums that can be re-released multiple times across generations (in this case 47 years later), and still have enough commercial oomph to make significant noise on the album charts. In this case, we have an album that not only retains strong commercial punch nearly 50 years later, but was also the beginning of a revolution in music that has helped father (or grandfather) genres such as Americana while foreshadowing the marriage of Country to genres such as Blues, Rock and Pop. Aside from all of that, Ray Charles also spoke of great changes in the midst of the Civil Rights Movement of the 1960's.

On June 2, 2009, Concord Records re-released two of Ray Charles’ classic albums on one CD. Modern Sounds In Country And Western Music Volume 1 & 2. The two albums were recorded in 1962 (February and September, respectively). Volume 1 was released in April of 1962, and is considered by many critics and fans to be Charles’ greatest recorded work. Not only was the album a commercial success (#1 album, 1 #1 single, 2 Gold singles), but it also bent social barriers with the fusion of R&B and Country during the height of the Civil Rights movement. The album also helped Charles to gain wide exposure on R&B, Rock and Country stations, turning the talented performer into a superstar. Volume 2 was rushed to release in October of 1962 based on the success of the first album, featuring 2 top-10 singles and a #1 single (You Are My Sunshine).

Volume 1, in particular, has been lauded by publications after publication as one of the top albums ever created. Blender magazine ranked it #16 on its list of The 100 Greatest American Albums Of All Time. Rolling Stone placed it on the list of its essential Rock Albums in 1997. Stereophile magazine lists Volume 1 on its 40 Essential Albums list, while Time magazine included Volume 1 on its 100 Greatest Albums of All Time. It’s easy to see why. Charles turned his inimitable talents on songs like Bye Bye Love, I Can’t Stop Loving You (#1 single), You Don’t Know Me (Top 10 single) and Hank Williams’ Hey Good Lookin’. With production by Sid Feller (Dean Martin, Peggy Lee, Paul Anka, etc.) and string arrangements by Marty Paich (Sinatra, Streisand, Ella Fitzgerald, Mel Tormé, Aretha Franklin, Michael Jackson, etc.), no stone was left unturned in creating perfect Ray Charles versions of each song.

In response to the tremendous success of Volume 1, Volume 2 was quickly recorded and released in October of 1962, using the same formula that had driven the success of Volume 1. The album included such hits as You Are My Sunshine (#1 single), Take These Chains From My Heart (Top 10 single), and Hank Williams’ Your Cheatin’ Heart (Top 40 single), as well as takes on Don Gibson’s Oh, Lonesome Me and the Chet Artkins/Boudleaux Bryant song Midnight.

Concord Records has done a great job handling these two releases, bringing them together for the first time outside of a box set and in an affordable form. The remaster on both is flawless, and give a great picture of the man, the artist, and the ground-breaking music he was creating at the time. The music is timeless and stands on its own as one of Charles’ greatest legacies, for both its artistic and social impacts. If you want to understand where today’s Americana styles started, with blends of country, rock and blues, look no further than Ray Charles. Without these two albums and the many that followed, the music you’d be hearing today might sound very different. Modern Sounds In Country And Western Music Volume 1 & 2 is a Wildy’s World Certified Desert Island Disc, and practically defines the concept.

Rating: 5 Stars (Out of 5)

You can learn more about Ray Charles at http://www.raycharles.com/. You can purchase Modern Sounds In Country And Western Music Volume 1 & 2 at Amazon.com or download it through iTunes.