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Artists! Submit your material for consideration for review! Send your press kits and CDs to:
Music Monthly
2807 Goodwood Road
Balto., MD 21214
Phone: 410-254-6400
Fax:
musicmonthly@comcast.net
various
Jarflys
Anonymous
(Fowl Records)
Jimi Davies has long been a fixture in the Maryland music scene. Whether it is fronting his regional and national band, Jimmie’s Chicken Shack or piloting the goings-on at his label, Fowl Records, Davies has made his mark. Now he is branching out in another direction. In 2001 Davies formed a new band, Jarflys, as an outlet for his vast collection of original songs that didn’t seem to fit with the heavier sound of Jimmie’s Chicken Shack. Moving ahead two years, Davies and his Jarflys are still going strong and have released their debut CD, Anonymous. The result is kinder gentler Jimi showcased through a memorable collection of songs. While fans of the heavy and aggressive music played by Davies and his mates in Jimmie’s Chicken Shack may not be thrilled with this project, there is a good chance a whole new audience will be attracted to the ten songs found on Anonymous. The songs, mostly based on Davies’ acoustic guitar, are well crafted and feature some of the region’s finest musicians. In order to breathe life into his original solo acoustic demos, Davies assembled an all-star band, including Noel White on drums and percussion, Bryan Ewald on electric guitar, Larry Melton on bass guitar and Meg Murray on vocals. These musicians create the core group of Jarflys and do an amazing job complementing Davies and his songs. Along with the great lineup of musicians, another major key to the success of Anonymous is its superior production quality. The album was recorded and produced by Davies and Frank Marchand at Waterford Digital Studios and the results are incredible. When you combine great songs, top-notch musicians, and great production, you have the recipe for a really memorable album and Anonymous definitely delivers. Who knows what musical direction Davies will take next. He is obviously a man of talent and is driven to express himself in many different ways. I only hope that his involvement in the Jarflys project is not temporary. According to Davies, he had 75 original songs that were taken into consideration when putting together Anonymous. That leaves 65 songs for he and the Jarflys to use for future albums of great music. -Greg Yost
Diana Stagnato
With Love to You
(Independent)
While every brother’s, sister’s, cousin’s, uncle’s friend has taken a shot at Gershwin’s “I’ve Got Rhythm”, Diana Stagnato rises to the scene with a saucy style much like her early predecessors in American classic jazz. Not quite in the realm of blue note jazz architects as Bird or Miles, but on the other side of the tracks with composers as Cole Porter and George & Ira Gershwin. With something to offer east coast jazz lovers in vocals and rhythm improvisation, Diana and The Band –anonymity is cool in this genre- bring warmth and nostalgia to a digital world of MTV, iMac and McMansions. The cool classic jazz rendition on Diana Stagnato’s latest CD entitled With Love To You, takes you on a journey with ten tracks from early classic jazz of the speakeasy twenties to the big band swing of the 50’s and back to the bebop and swiftness of the sixties. With sassy melodies as “That Old Black Magic”, “I’ve Got You Under My Skin”, “As Time Goes By” and Gershwin’s “I’ve Got Rhythm”. With Love To You allows us to have a conversation with the past. Diana Stagnato begins our journey with “Come Rain or Come Shine”, originally scored by Harold Arlen and Johnny Mercer in the late forties, and truly showcases her stimulating appeal. The overall arrangements, rhythmically and vocally, are like old bottles of new wine. Diana Stagnato is not quite the vocalist that occupies her own niche as a jazz vocalist, for she does not part much from the original composed melody. Humbly speaking, there is no real emphasis on improvisation, in which waters down the prevailing heart of jazz vocals. What Diana Stagnato does render, however, is a combination of a crisp tone with an aura of sophistication and that subtle sensuality that is so righteous for American standards. Such hip and saucy standards as Bobby Troup’s “Route 66” and “Fever” among others candidly introduce her seasoned croon stylings. Although what may be lacking in vocal improvisation is counterbalanced by Stagnato’s swift rhythm section. For the ear of traditional jazz lovers, John Cocuzzi resonates on the keys and brings a special magic with the wonder vibes on “Route 66”. And that’s some brass section she’s got there that goes into full swing on “I’ve Got Rhythm” with Bruce Swain on tenor sax solo. A live performance by Diana Stagnato would prove to bring to its highest pinnacle that art and true sound of big band swing led by the early masters. With Love to You featuring Diana Stagnato is a tribute to the classic jazz architects of the past that have inspired great music. This is an acoustic genre of early American jazz, with an awesome backdrop to James Dean, pop art and pink Chevy’s. One would shutter to think where music would be today in the absence of beat machines, Microsoft and megahertz. When there is ever a time when you need to escape these chaotic digital surroundings, Diana Stagnato, With Love To You, is going full tilt into the CD-ROM. Give the neighbors something more fulfilling to complain about. -Lisa Donaldson
Blackball
Blackball
(Independent)
Something raw, besides the Patapsco River, is stirring on the east side. Cow punkers Junkrod, old school Stillborn, and sleaze rockers Blackball have made the perfect trifecta at east Baltimore bars since spring, following the recording of their respective EPs. This review completes the critical trio. Blackball lined up their shots with former Buckcherry guitarist Keith Nelson, who agreed to assist them with preproduction in his Hollywood home; the influence of those near-saviors of millennial rock ‘n roll was obvious since the Blackball started rolling. They also take their cue from Manhattan’s (now degenerated) Degeneration when they were still degenerate, and Hollywood’s pounce-ready Street Walkin’ Cheetahs in for the kill. If these ‘balls were harder and bouncier, they could be Boston’s Bullet Lavolta reduced to bony, three chord riffs. So be sure to stumble over this gutter punk while it’s dormant down there. -Stone Scruggs
Ronald Smith
Laid Back
(Independent)
Laid Back is as gentle as autumn leaves and as savvy as a bent blue note. Jazz guitarist, Ronald Smith, ambitiously delivers a myriad of rhythmic engines and electronic riffs that are definitive and with gripping articulation on his latest release notoriously entitled Laid Back. This elegant, small ensemble jazz album brings a gentle mix of funky fusion, Latin R&B ambitions to contemporary jazz. What jazz traditionalists may call a crossover instrument, Ronald Smith incorporates sensational funk beats and electronic effects into guitar improvisations. His first cut from the CD “Laid Back” is a real display of Smith’s ability to interpret the mood of his works throughout the entire CD. The R&B fusion tend to dominate on may of the cuts but is well enjoyed, especially from a writer who doesn’t know much about jazz in the first place. But what this writer does know is that there is a remote contrast in tempo between songs, be it a romantic love ballad as “I’ve Gotta Know” and funk-based charged melodies as “Time To Stroll”. Ensemble members, such as George “Wake” Campbell on tenor sax, is an easy show stealer on the two ballads, for tenor sax players are indeed larger than life in great jazz architecture. Laid Back incorporates a musical landscape with Latin driven “Majorca”, where Smith charges his pure jazz guitarist imagery that is very beautiful and elegant. What Ronald Smith has combined is a major mix of composition styles coupled with unique improvisations and R&B fusion, what we generally like to refer to as contemporary jazz. And what the final result is a piece of work that is very pleasant and sometimes elegant. It is a sound sweet enough that songs are not too simplistic. However, a couple of the songs may seem somewhat underdeveloped in the background conversation between ensemble members. Remember: every piece of work is a conversation in the making. Sometimes we yell with rage or scream with delight. And sometimes we don’t have anything to say. Ronald Smith’s latest CD Laid Back neither yells or screams, but it shares with us a delightful conversation. -Lisa Donaldson
Patrice Moerman
Following a Dream
(Independent)
Patrice Moerman’s head is a mess. She says so in the opening lines of the title cut of her Following a Dream LP. It’s a memorable pop tune, with plucky guitar and deep relaxed vocals slightly resembling a young and less road-weary Lucinda Williams. Same flava, less white lines. Produced, vocally companioned, and scantily bassed by Jim Robeson, Following a Dream is otherwise very much the Patrice Moerman Show, even down to the cover painting. All fourteen cuts were written solely by Patrice and piloted by either her guitar or piano playing. Definitely not much room for the masking of true talent. And for the most part she reveals it well. Though a good portion of the song lyrics appear blockish, certain scattered selections make Following a Dream a truly worthwhile offering. The essence of Moerman in addition to the title cut lies in a slinky little knocker called “Two Way Street”, praising the glory of domestic equality. Musicianship is fine and the feel is satiably infectious. Also recommended are "Don’t Walk Away", and "No Gold Digger" - the closest Patrice comes to vocally lettin’ it all hang out. All these songs work with Moerman’s subtle sad-sweet vocal style and are clever lyrically to boot. Mother’s Day is a purty little celebration of motherhood ala Joni Mitchell, (though one could argue how much Joni really IDs with matriarchy). The melody is haunting and effective along with Moerman¹s lustrous piano. Guitarist Paul Bell is nicely spotlighted on the final cut, a swingin’ restatement of “You Affect Me”, the first rendering of which did not knock me out. This is a nice closer in the same vein as Hypnotized by Bob Welch¹s Fleetwood Mac, though it holds scant continuity with the rest of the album. That said, by album’s end, I kinda wanna hear Patrice scream, screech, growl or holler. Everything is a bit too controlled here. Maybe a few hundred white lines across country with Lucinda would do her right. There¹s little doubt that when she’s in her element, Moerman could hold her own in the middle of the road. -Kyf Brewer
Greg Thompkins Quartet
Comings and Goings
(Independent)
They say that the most eloquent form of expression in jazz music is not in the big form, but in the quartet, the most intimate musical form. The Greg Thompkins Quartet offers an enduring, elegant and intimate musical experience in his CD Comings and Goings. This growing experience consists of Greg Thompkins on tenor sax –in which alone occupies a giant space in the jazz universe- with fellow collaborators Vattel Cherry on bass, Jesse Moody III on drums and Brian Kooken on guitar. Greg Thompkins takes a 180 degree spin from his latter band mates of the “Almighty Senators” and presents a visionary pièce de resistance that foreshadows jazz greatness in the time to come. With five original songs penned by the group, the CD release for the Greg Thompkins Quartet eclipses vibes of blue note jazz greats as Johnny Coltrane, Charlie Parker as well as their own signatures on synonymous cuts as “Jesse’s Song” and “Greg’s Song”, among others. The CD opens onto a subtle journey entitled “Spring Can Really Hang You Up The Most” headed by Greg Thompkins with a signature of sultry easy listening composition on tenor sax. This first cut is a great starting point onto the uptown tempo tunes of “Confirmation” inspired by Charlie “Bird” Parker and “Greg’s Song” which especially displays Thompkins relentless ability in articulation and syncopated phrasing that takes not prisoners on tenor sax solo. Bassist Vattel Cherry tips feverishly on the bass solo entitled “Vattel’s Song”. Cherry incorporates bass lines and solos that can stand alone as a beautiful logical melody. “Vattel’s Song” creates a certain kind of drama where Cherry first tiptoe’s through the melody and into a final release of unbound swing and intensity. Coming and Goings concludes our marvelous journey of adventurous rhythms and harmonies on the final cut entitled “Green Dolphin Street”, in which by far is the most important song on the CD. The fifteen-minute foray of rhythmic transformations and furious tempo changes eclipse everything the Greg Thompkins Quartet has done previously in providing a precise appeal clearly rooted in rhythm, harmony and hip excitement. There is virtually no mood or emotion that goes unexpressed on this entire masterful work of the Greg Thompkins Quartet in Comings and Goings. That’s the true mastering of a jazz album. -Lisa Donaldson
Michelle Walker
Slow Down
(Independent)
Many jazz vocalists don’t improvise that way instrumentalists do. So “Diva-ness” alone is not a measure when an intriguing vocalist is defined by improvisation or swing character. Michelle Walker’s latest release Slow Down delivers her best extractions of familiar standard melodies such as “Pennies From Heaven”, “Straighten Up and Fly Right” and Gershwin and Gershwin’s “Summertime”. Michelle Walker essentially entices with her vocal signature of relaxed phrasing and a bluesy frenzy –similar to vocal stylings of Lady Day- that’s markedly expressed in her interpretation of Sadè’s “Kiss of Life”. Her over relaxed articulation however is a pleasing combination with the numerous intimate settings Walker creates with vocals and solo accompaniment. With Dave Crosby on guitar and Wayne Wilentz on piano, Walker delivers a more or less charming contemporary vocal album. With 15 songs on the CD, none is more expressive of Walker’s “Diva” spirit than the title song “Slow Down”. Not only does the song impart a key amorous vibe that Michelle contends to achieve, but also the pleasant interplay of Walker’s bluesy vocals, a funky composition and tempting harmonies. “I wanna feel like we feeling free. Slow down baby…Talk to me,” epitomizes the notion of freedom in this hip groove. “Slow Down” is again by far the loveliest performance on the CD –which Walker herself wrote the lyrics for. “Slow Down” is also an original that delivers a style that is truly her own style and innermost story. How wonderful are the things that we artists can create when we stick to our own voices. I’ll surely look forward to her next release that shares that same vibe and innermost originality that Michelle expresses through her own niche of writing and arrangement. Whether vocal are relaxed, over-relaxed or ippity, Michelle Walker delivers a work that teases with may different tempos, from mid-range to swing. However, such serious swing melodies as “Sometimes “I’m Happy” and “Straighten Up and Fly Right” are slightly dimmed by Walker's relaxed articulation, that is sometimes too relaxed to maintain the swing of the tempo. Overall, let’s stick to what we know. I feel a gem of a work being expressed in Michelle Walker’s latest CD, Slow Down, with a title cut that is awesomely original. Interpreting classic American Standards indeed should not be the plan for all contemporary vocalists. Sticking to what we know and feel is real within us, however, has always proved to be the right answer. I demand more writing from Ms. Walker, for her own voice is what sets her apart from the rest –a woman who is comfortable in her own skin. -Lisa Donaldson
Superswank
Loud and Proud
(Independent)
In these days of “Nu-Metal” and the long line of bands waiting for their opportunity to spew out their own version of the sound that sells, a heavy band with a unique sound is hard to come by. That is unless you live in the Baltimore/ D.C. area. This is the territory that Superswank covers as they bring their sonic assault to the masses. The thing that makes Superswank stand out from all the other heavy bands playing is that they incorporate some unique music genres into their own sound. One listen to their debut CD, Loud and Proud, and you will see that there are hints of country and rockabilly strewn throughout the 12 tracks just to add the right amount of flavor to keep the sound fresh. The best way to describe the unique Superswank sound would be to picture the Stray Cats and George Jones riding in a car together and being hit by a Jack Daniels delivery truck driven by Rob Zombie. The fiery moment of impact might be the closest thing to the sound of this trio on Loud and Proud. Superswank is comprised of Catherine Gray on bass guitar and vocals, Dave Cornwell on guitar and vocals and Doug Hoekstra on drums and backing vocals. While Catherine and Dave trade-off lead vocals throughout the album, my personal favorites are the songs with Catherine at the helm. Her unpolished vocal style goes right along with the raw sound of the band and just seems to fit right. A real highlight of Loud and Proud is the “Ballad of Bucky Custer.” This almost spoken word tale is very similar to the sound that local legend Bill Kirchen helped to pioneer with Commander Cody and the Lost Planet Airmen several decades ago. Another gem on Loud and Proud is Superswank’s take on the Glen Campbell classic “Rhinestone Cowboy.” Their straight read of the song shows how a classic holds up no matter how it is interpreted. While there may not currently be a commercial market for the brand of heavy music that Superswank plays, it’s good to know that this trio will be rocking the bars and clubs of the region, bringing their own type of good old American rock and roll to the people. -Greg Yost