Cincinnati's J Curve Records continues its exploration of the jazz genre with this third volume devoted to the blues. In presenting its treatise on this music, J Curve continues to call on the seemingly bottomless reservoir of talent available in the City on the Ohio. The expansive liner notes briefly describe the musical backgrounds of the performers, most of whom are pictured as well. These artists confirm that old rubric that, to be good, every jazz player has to learn those blues licks that underpin so much of the jazz idiom. And these people are good.
As for the music, one knows this album is going to be a good time with the first track. P. Ann Everson-Price sets the tone with a medley of blues composed by
Jimmy Reed and the underappreciated
Denise LaSalle, and including the traditional "Meet Me With Your Black Drawers On." Things just get "bluesier" from then on with the traditional New Orleans music of
Jelly Roll Morton's classic "Whinin' Boy Blues," which gets distinctive treatment by Frank Powers' clarinet and the
Jack Teagarden-like trombone of Bill Gemmer. Urban blues, Southern blues, rhythm and blues, funk, and some rockin' blues can be found on this CD. There are variations on the beat with eight-, 12-, 16-, and 24-bar tempi. Simple blues are represented by "Stormy Monday" -- sung with heart-wrenching pleading by Bill Caffie -- and "Kansas City," bumping up against more complex adaptations of the genre like
John Coltrane's "Some Other Blues" and
McCoy Tyner's "Inception." "Muddy Water" gets a vigorous shouting by Kathy Wade backed by Mike Wade's (no relation) tough trumpet blowing. In contrast, the modern, improvisational sax playing of Sandy Suskind is the feature on "Some Other Blues." This variety keeps listener interest at peak level. There's even blues with a salsa beat from
Latin X-posure. That's a bit of a stretch, but fits in nicely anyway. An entertaining album through and through and recommended. It makes the listener eager for what volume four will bring. ~ Dave Nathan