Big Apple Blues - Brooklyn Blues

Big Apple Blues – Brooklyn Blues
2010, Stone Tone Records

Big Apple Blues is a New York City-based blues collective working to keep the storied art form alive and relevant.  Built around a revolving roster of New York City blues cats, the current cast includes Zach Zunis (Janiva Magness, Great William Clark, Rick Holmstrom); Barry Harrison (Shemekia Copeland, Michael Powers); Anthony Kane (Muddy Waters, Junior Wells); Admir “Dr. Blues” Hadzic; Hugh Pool (Hugh Pool Band); Brian Mitchell (Bob Dylan, Al Green, B.B. King, Mary J. Blige) and the irrepressible Christine Santelli.  Formerly known as the Stone Tone Blues Band, Big Apple Blues looks to keep the Chicago electric blues sound alive, and does so from the burgeoning Indie music scene of New York with the aptly titled Brooklyn Blues.

Brooklyn Blues opens with an entertaining blend of blues, R&B and rock n roll on “Too Many Drivers”; an innuendo-laden tune expressing romantic interest in a woman but also wondering, perhaps, at her morals.  “Too Many Drivers” is a great, energetic start to the album, showing hints of what is to come.  “Killing Floor” is energetic and danceable; a sour grapes song about why he hasn’t left a relationship before now.  “Brooklyn Swamp” is a solid but uninspired instrumental.  Big Apple Blues is tight and technically proficient here; you just don’t get the sense that much is going on behind the scenes here.  “Honey Hush” brings out a man’s inner Neanderthal; an old school blues tune that is entertaining and is vaguely reminiscent stylistically of Cab Calloway. 

“Whole Lotta Lovin’” is full of the machismo of a top notch pick-up artist.  The vocals show great presence, and the Big Apple Blues provides among their best instrumental performances on the album.  “How Many More Years” is a kiss-off song; a song of walking out.  The song itself is middle of the road, but Brian Mitchell’s guitar work is first-rate.  “Everything Is Gonna Be Alright” turns into a long form blues jam, showing off the distinctive instrumental talents of the band.  The guitar work of Mitchell and the harmonica work of Hugh Pool in particular stand out.  “It’s My Life Baby” is a song of pining for someone who is gone that’s well constructed and tightly played.  Pool once again stands out blowing some of the hottest harp east of Chicago’s South Side.    “Hate To See You Go” is musically and lyrically repetitive.  Big Apple Blues gets caught in a brief rut here and on “Who’s On Third (Duvel)”, but recover nicely with the closing track, “Mellow Down Easy”.  “Mellow Down Easy” is a party song of sorts; lyrically simplistic but with a solid vibe.

Big Apple Blues brings the early days of electric blues alive on Brooklyn Blues.  The sound here is dynamic, and probably best suited to a live setting, but Big Apple Blues make a solid effort at capturing that sound on CD.  The highlights on Brooklyn Blues are found in the seams of the music.  Hugh Pool is a rock star, figuratively speaking, and Brian Mitchell seems alive in every moment on the album.  It’s all tied together by the impressive musical heartbeat provided by Barry Harrison, but it’s ultimately the chemistry achieved by Big Apple Blues that will win you over.  Not every moment of Brooklyn Blues works perfectly, but there are enough perfect moments to go around.

Rating: 4 Stars (Out of 5)

Learn more about Big Apple Blues at http://www.bigappleblues.com/.  Brooklyn Blues is available from Amazon.com as a CD or Download.  Digital copies are also available from iTunes.

Review: Lydia Mamsie Tsosane - Hard To Love (single)

Lydia Mamsie Tsosane - Hard To Love (single)
2009, Lydia Mamsie Tsosane

Soweto, Johannesburg, South Africa native Lydia Mamsie Tsosane has come a long way in a short time as a singer. A few years back she moved to Hamburg, Germany as a company member in the German production of Disney’s The Lion King, playing Rafiki, Shenzi and swing. A diverse vocalist with Jazz and Blues in her family history, Tsosane aims for a sound that is classic yet fresh. Ms. Tsosane recently sent her single, Hard To Love for consideration.

For all the history in Jazz and Blues, Hard To Love is a fairly standard Soul/R&B jam. Tsosane has a nice voice, although she does tend to over sing at times on the chorus. Hard To Love is done here with a light dance beat, but hopefully is not the final mix as the levels seem a bit off.

Lydia Mamsie Tsosane may aim to be the next Vanessa Williams, but there are few on any stage with Williams’ voice or versatility. Hard To Love is a decent enough start, but a little too mainstream to stand out.

Rating: 3 Stars (Out of 5)

You can learn more about Lydia Mamsie Tsosane at www.myspace.com/mamsietsosane. While Hard To Love does not appear to be commercially available yet, you can find two of Tsosane's other singles available on iTunes.

Review: Janid - Twisted

Janid - Twisted
2009, Zonisphere Records

Puerto-Rico born songstress Janid is a musical chameleon with whose voice you may have heard before. She's lent her voice to a project with Frankie Cutlas; to movie soundtracks, radio and television commercials and even serves as the Spanish language voice on 1-800-JETBLUE. Janid's music has been previously featured in the Puerto-Rican mini-series El Ultimo Caso del Detective Prado, leading to her first record deal with Dead Ninja Records in 2006 and a move to New York City. Her debut album, Goddess, led to 4 star ratings on VH-1 and Amazon.com as well as selection as New York's Sexiest Latina by Farandulife Magazine. Her early music was in the R&B genre which prevailed on her second CD, One. Janid also scored a part in the motion picture Bare Knucklez, but felt highly constrained by the path she was on. A six-week sabbatical in 2008 led to a groundbreaking decision to attempt a foray into the realm of electronic music. With her third album, Twisted, Janid brings her high-powered vocal style to dark and roaming electronic tales punctuated by heavy beats and a slightly deranged demeanor. This "good girl gone bad" has wowed fans around the world, and Twisted is the album that just might take her to the next level of name recognition.

Janid jumps right to the head of the club class with Take Me Out, a pulsing, pounding dance tune with a solid melody and amazing vocal performance from Janid. Twisted brings a little raw sexuality to the dance floor as Janid seems to fully hit stride on her blend of R&B, House and Electronica. Think Mary J. Blige meets Kylie Minogue. Do Me is the song most likely to make Janid a household name; a near perfect blend of pop, dance and R&B. With a beat so relentless you can’t help but dance, Do Me also has the sort of melody line and hooks that mean you’ll be humming/singing it for days or even weeks. Janid shows a little of her softer side (vocally) on Red Velvet Curtains to great effect, proving that she’s not just a belter but a singer, and quite accomplished at that. Sacrilegious is a song that could garner Janid a lot of attention, but it’s not what you might think. Sacrilegious in this case refers to living your own life without the “keeping up with the Joneses” constraints that many fall prey to. The song itself is moody and bordering on dark, with a rhythm that would make Madonna blush. Other highlights include Puppet, Not That Far and Freedom.

Janid is a dynamic and talented performer with a voice that grabs you and holds on for dear life. Add in a smoldering stare that could meld steel and a Goth style of dress and demeanor and Janid is perfectly positioned for a run at the top of the dance/electronic charts. Janid is superstar in the making, and Twisted is destined to gain her a much wider audience. Twisted is a stunning, unsettling, and ultimately successful album.

Rating: 4.5 Stars (Out of 5)

You can learn more about Janid at http://www.janidworld.com/ or www.myspace.com/janidmusic; or you can tweet along with Janid at www.twitter.com/Janid. Twisted can be purchased at Amazon.com or as a download via iTunes.

Review: Jeremy & Rebecca - What We Leave Behind

Jeremy & Rebecca - What We Leave Behind
2009, Dwelling Records

He's a marketing director. She's an Early Childhood Special Education Teacher. They're married and have a family. One could understand if Jeremy & Rebecca Hendrickson never quite had time for a music career, but this is no ordinary duo. Jeremy & Rebecca set out to write songs with positive themes and uplifting content/sounds; the same sort of appeal that went into old time variety shows and family movies. The sounds are updated for today, but the spirit is good old fashioned family entertainment. What We Leave Behind is a stunning album of feel good moments buoyed by Jeremy Hendrickson's solid songwriting and Rebecca Hendrickson's dazzling voice.

Jeremy & Rebecca created What We Leave Behind without financial backing from a label or anyone else, relying on Visa and MasterCard to see the album completed. Working from a wish-list of music veterans, Jeremy & Rebecca managed to put together a recording ensemble of folks who've previously worked with the likes of Eric Clapton, Mariah Carey, Faith Hill, John Mayer, Chicago, Mary J. Blige and Rascal Flatts. In much the same way that an independent film production can create a sense of magic among cast and crew, something special occurred in the process of recording What We Leave Behind. The sense of joy that flows off the CD is accompanied by a cohesion that goes beyond professional into personal.

What We Leave Behind opens with Fool, a rockin' country love song about getting caught up in love. Rebecca Hendrickson takes lead vocals here and quickly proves to be one of the most dynamic country vocalists I've heard in a while. With a sultry, powerful voice that can cross the lines from country to R&B while passing through Rock, Jazz and The Blues, Rebecca could sing the phone book and have folks lined up to listen. Flyer takes a left turn into the disco era with a song that could have topped the charts back in disco's heyday. Never ones to sit still, stylistically, the duo launches into What We Leave Behind, a down-tempo blues tune that introduces us to Jeremy's voice for the first time in a duet with Rebecca. Jeremy's voice is one of clear, pure tone with an honestly emotive sound. The positive message here is undeniably, born from any one of a number of religions or theologies, that immortality is achieved not through your own accomplishments but in how you make the world around you better.

Feels Like The Heavens is a love song that sounds like it could have been an R&B/Pop hit in the 1980's. Straight And Narrow plays on the edges of country and rock in a highly energetic and driven musical declaration that would play very well to country radio. There is a strong moral compass in the music presented here that's Judeo-Christian in nature. The music itself isn't religious per se, but there's a distinct philosophy or belief system that underlies the songwriting that's based in one. Made To Love You also reflects this distinct grounding in perhaps the most explicit terms on the album. Jeremy & Rebecca sing to each other from their hearts, and the sincerity is clear. This is major mix-tape material without the complicated blending of love and sexuality that pervades popular music.

Jeremy takes lead vocals on How I Love You in a tune that sounds like something Barry Manilow might have recorded in the 1970's. It's a sweet song and another mix-tape must. Miracle finds Jeremy & Rebecca bringing the funk on one of the best dance oriented songs on the disc. Tallest Tree is a sweet song written by Jeremy for his son; it's the earnest promise of a father to be the best he can for his son. The song is beautifully written pop that will touch both fathers and sons. Why Strive finds Rebecca hitting a 1970's vibe again in a song that, while not my favorite on the disc, is certainly sonically interesting. Rise And Shine is a theatrical pop tune with some serious guitar work dancing around the vocals. Rebecca provides a great deal of vocal color and sass on a song that moves from shadow to light and back several times. The album closes out with Have You Got The Time, a cabaret jazz style love song that is the perfect ending for a dynamic and changeable album.

What We Leave Behind is an unusual project, a melding on many varied and disparate pieces into a concept album unlike anything you're likely to hear these days. Jeremy & Rebecca seek to entertain with values-based music and themes; making music they would be perfectly comfortable with their children hearing. The goal is admirable, and I think it's safe to say it’s a smashing success. What We Leave Behind is bound to be a breakthrough album.

Rating: 4 Stars (Out of 5)

You can learn more about Jeremy & Rebecca at www.myspace.com/jeremyandrebecca or http://www.jeremyandrebecca.com/, where you can purchase a copy of What We Leave Behind using PayPal. The album can also be obtained at Amazon.com, or you can download the album through iTunes.

Review: Jamie Lynn Hart - Jamie Lynn Hart [EP]

Jamie Lynn Hart - Jamie Lynn Hart
2008 Jamie Lynn Hart

Jamie Lynn Hart is one of the bright new stars in the Boston music scene, captivating crowds with her honey-hued voice. Hart has significant classical vocal training under her belt, but sings with an R&B/soul style that is unmistakably her own. In 2008, Hart released her debut EP, Jamie Lynn Hart, including five of her most popular songs. The Masters candidate in Music will embark on her first national tour in the spring of 2009 upon graduation.

Okay, get it out of your system.... Wow. Hart has an amazing voice. Its dark and heavy with more vibrato than you might be used to in pop music, but Hart will blow you away with her voice. The EP opens with Sassy, a funk-laden R&B tune that will invoke comparisons to Mary J. Blige. This song could be a hit on the radio right now without any changes. From the brash presentation of Sassy we step to a more introspective Hart on Illuminate. Hart's voice still has that heavy/dark quality on the slower material, meaning that ballads may not be her strong point. Hart's best sound is in the belting range. Summoned To Succumb is a ballad with a fine guitar/cello arrangement that allows Hart to let loose a little of the sweetness in her voice. Beautiful Minds has a Cowboy Junkies feel to it, and Hart manages to let go of the heaviness of her voice a bit more here until the chorus when all of that vibrato comes back. Hart closes out the EP with Brittle Nails, a country/pop hybrid that is pleasant but for which Hart's voice is just flat out too heavy for.

I love Jamie Lynn Hart's voice, and it works on some of the songs on her debut EP, but it’s just too much for others. The almost Wagnerian vibrato in her voice is intriguing and different in the pop world but inevitably becomes too much. When trained in classical singing styles it can be very difficult to transition from that sound to a rock voice. Hart writes intelligent and interesting songs and is an amazing performer, but the sound is going to ware thin for some listeners. Luckily, if you check her out on YouTube, it appears that heavy quality doesn’t come across in a live setting. So chock this one up to production, folks. Jamie Lynn Hart is definitely worth checking out.

Rating: 3.5 Stars (Out of 5)

You can learn more about Jamie Lynn Hart at www.myspace.com/jamielynnheartmusic. You can purchase Jamie Lynn Hart on CD through Amazon.com, or you can download a copy from iTunes.

Overnight – These Days Are Over
2009, Overnight

Overnight is the sort of musical collective that isn’t far removed from the term super group. Members of overnight have played in various bands/ensembles, including Rye Coalition, NAS, Lauryn Hill, Breech (with members of Black Rebel Motorcycle Club and Brian Jonestown Massacre), Mary J. Blige and Gliss. This range of influences and exposure form the basis of the sound of Overnight. Lush Rock N Roll with electronic trimmings is the special on These Days Are Over, Overnight’s soon-to-be-released sophomore album.

These Days Are Over opens with Harlem River Drive, 6:45; a near-ambient prologue to This Is How, a U2-style epic rock song that is perhaps the best on the album. Strange Love is a wonderfully off-kilter arrangement that relies heavily on electronic instrumentation. Oh The Life! is also highly catchy and memorable, with lead vocalist Philip Watts sounding quite a lot like Bono. I also enjoyed Other Side, a mellow yet energetic rocker and I Know, where Overnight ends up sounding like a more refined version of Red Hot Chili Peppers. Suspect Genius is also worth a spin or two for its punk rock energy.

Overnight definitely hits some high notes on These Days Are Over. This is a musician’s record, and as happens sometimes when musicians really get into a project, there are points where the attempts to perfect a certain sound or style perhaps overwhelm the pure musicality of a given song or part of a song, but on the whole this is a very worthwhile listen.

Rating: 3 Stars (Out of 5)

You can learn more about Overnight at www.myspace.com/overnight or http://www.overnightmusic.net/. A release date for These Days Are Over was not available at publication time, but keep checking Overnight’s web site for additional information.