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Five For The Road (May 2023)
The Refugees- California
Combining three stellar singer-songwriters and great classic rock songs is not a guarantee of success. Fortunately, Cidny Bullens, Deborah Holland, and Wendy Waldman know how to deliver tasty arrangements and stellar vocals. California, a tribute to the golden state, is a primarily acoustic affair produced by Waldman and Abraham Parker. The tender covers of classic California rock songs run the gambit from the expected (Buffalo Springfield’s “For What It’s Worth) to deep cuts ( Sly and The Family Stone’s “Stand”).
The arrangements superbly match the band’s vocal talents, as the acoustic guitars by Holland and Waldman, along with Bullens’ mandolin, sparkle.
The Rufugees shine in California, and the album is an excellent gateway to their solo and group catalogs.
Shawn Maxwell’s Story at Eleven
Chicago-based saxophonist Shawn Maxwell released a dynamic four-track album, Story at Eleven. Maxwell’s four-movement work, his eleventh release, has a feel and enthusiasm which is infectious. Composed by Maxwell, who reproduced the album with Nick Eipers, Maxwell’s focus for the album was to create four distinct points of view for each epic track. His band, which features Collin Clauson on electric piano and organ, Michael Barton on bass, and Greg Essing on drums, compliments Maxwell’s bold arrangements and powerful alto sax sound. “Appointment With…” starts the flight with its pensive Fender Rhodes and melodic alto sax and bass interplay. Over the next ten minutes, the intensity and tension build. Reaching “Answer & Arrival” at the album’s end, the listener has been guided on a wonderous long-form journey with daring time signature changes and equally evocative solos. It’s evident that there has been some sort of transformation during this 40-minute ride. Perhaps repeated listening will uncover the details of the joyous ride.
Rickie Lee Jones – Pieces of Treasure
One would think that after listening to Rickie Lee Jones for almost 50 years, she would no longer stir strong emotions. Her current release of jazz standards, Pieces Of Treasure, conjures the same feelings that I had when I first heard her self-titled debut in the late ‘70. Granted, Jones has released a few cover albums, some brilliant ( A Girl and Her Volcano) and one godawful ( the flaccid David Was Produced Pop Pop). Jones, never one to ignore her muse, is an artist in the truest sense. Reconnecting with producer Russ Titelman at New York’s Sear Sound in the summer of 2022, Jones, with a tight band including Rob Mounsey on piano, guitarist Rusell Malone and Jon Herington, bassist David Wong and drummer Mark McLean provide the subtle and texture support to Jones’ still unique and expressive voice. The result is songs like “All the Way” and “Nature Boy” take on a new life. Each song is born again by Jones, while Titelman keeps the playing loose and breezy. Add Pieces Of Treasure to the list of classic Rickie Lee Jones albums. This is ten pieces of musical gold.
Alexis Evans- Yours Truly
Yours truly is authentic and compelling neo-soul. Writer, producer, and composer Alexis Evans gathered an energized band to enliven his compact and vivid stories.
Evans’ 2019 album, I’ve Come A Long Way, was a perfect sophomore effort. Yours Truly doesn’t attempt to reinvent his formula. That’s fine, as songs like “What Is This Feeling” and “Let Them Loose” are emotional, descriptive, and fun. Add to this formula Evans’ powerfully soulful voice and Memphis-like guitar, and you have one of the best albums of the year.
Bokante’ – History
Out on June 30th on Real World Records, Bokante’s latest album, History is a stunning mashup of Creole, African, Arab, and blues. The resulting stew is a compelling, pulsating collection of songs. “Bliss” is a fine example of these styles with powerful bass and gusty guitars. The underlying busy influence is prevalent throughout the office, but songs like “Pa Domi” tie in the strong West African influences. Additionally, Snarky Puppy leader Michael League effortlessly integrates Western music with Middle Eastern and African themes. Roosevelt Collier (lap steel) and guitarists Chris McQueen and Bob Lanzetti meld with Jamey Haddad and Keita Ogawa, producing an album that is more than the sum of its parts.
Joe Bailey – Splinters
Joe Bailey’s 2022 album, Devil In The White City, was one of the year’s best. Splinters, available now via Bandcamp doesn’t retread the themes of Devil In The White City however its nine songs offer a variety of hard-charging, powerfully constructed Prog-Metal. Bailey, a dynamic one-man band, combines topical issues, personal observations and irresistible hooks to propel his storytelling. The orchestrated keyboard passages of the lead off song “”Full Frontal Eulogy” sets a scene which is captivating. Bailey then combines his dynamic bass and guitar playing with a drum frenzy to support his darkly powerful lyrics. Bailey also pulls out the stops with his vocal arrangements, utilizing harmonies to support the dramatic synth and rhythm parts.
“Matricide” at over eight minutes, matches the intensity of “Full Frontal Eulogy” yet adds a new element. Bailey’s use of soundscapes is modern yet harkens back to early Linkin Park. Bailey doesn’t hold back with his view of our abuse of the planet, yet he never forgets the hook, drawing the listener in with dynamic guitars to match the intensity of the lyrics and melody. The guitar solos are among my favorite on a Bailey album.
“I, Myself and Me” demonstrates a shift in Bailey’s vocal approach and thematic focus . Bailey spits out these deeply personal lyrics over a frenzied rhythm backing. Bailey’s rhythm guitar playing provides a solid backdrop to the introspective and intense lyrics.
Bailey’s eleven minute epic, “The Long Haul” is a dark and sober look into one’s soul. Building in intensity, the song’s dynamic changes and equally effective guitar sections fly by. The keyboard passages fight the guitars for dominance . Bailey, a stellar arranger and wordsmith, pulls out all the stops in this masterpiece yet the eleven minutes flies by leaving the listener wanting more.
“SLUG” is a different kind of beast. Special guest Charlotte Bailey provides additional color on trumpet while Joe Bailey provides and electro-metal backing. Bailey’s vocal approach/rap is daring yet successful, proving he’s indeed a risk taker. When he sings “I’ve got no bones, but that doesn’t mean I’ve got no backbone” you can’t help but feel it.
“Time Is Killing Me” follows a more conventional path with slashing guitar leads, punchy bass and seven minutes of raw, naked lyrics. “Salt In Our Wounds” , the penultimate song on the album combine piano passages, swirling synth passages and equally effective clean guitar leads which morph into metal heavy fills. Indeed the music is so effective it’s almost easy to overlook the lyrics. That would be a mistake as Bailey paints and desperate and daring picture. It’s one that you can’t ignore. If you’re hoping for societies redemption in the final song, “No Man’s Land”, think again. Joe Bailey doesn’t pull any punches but he does tell compelling, vivid stories. Combined with his daring brand of prog-metal, and stunning musicianship, “Splinters” is a must own. Buy it now on Bandcamp.com.
Best of 2023 (Rock, Pop)
Steve Lukather- Bridges – I was chatting with Steve Lukather about his latest solo albumwhen he said, “Look, I know what you are going to ask: If David Paich and Joseph Williams are both heavily involved with Bridges, why is this not a Toto album?”
I laughed at his remark, explaining that wasn’t my question. Bridges sounds like a Steve Lukather album to me. Many Toto members, past to present, appear but Lukather’s stamp is unmistakable.
“When I See You Again,” has driving rhythms (featuring Simon Phillips on drums), urgent vocals and slashing guitars. Combining the directness of his earlier solo work and the melodic flair of Toto, “When I See You Again” represents the work of an iconic legacy artist not willing to rest on his laurels.
“Burning Bridges,” written with Stan Lynch, David Paich and Joseph Williams, is a bluesy falling shuffle with prominent Fender Rhodes and touches of organ and synth. Simon Phillips returns on a song that would have been a good fit on any Lukather solo album. Despite the inclusion of Paich and Willaims on keyboards and vocals, the music sounds more like Los Lobotomys than it does Mindfields.
It’s not Toto yet Lukather delivers some of his best music in years.
Cidny Bullens: Little Pieces
Cidny Bullens’ new album Little Pieces is a musical gem that beautifully intertwines with the narrative from his autobiography, TransElectric: My Life as a Cosmic Rock Star. This album is a captivating journey filled with heartfelt lyrics and incredible melodies.
“Healing the Break” is a poignant ballad that touches the soul with its heartfelt lyrics and emotional delivery. “The Gender Line,” also the name of Cidny Bullen’s short documentary, features Rodney Crowell. This standout track not only highlights Bullens’ musical talents but also delivers a powerful message about identity and self-acceptance. It’s a remarkable collaboration that leaves a lasting impression.
“Little Pieces” offers a personal and moving musical experience that intertwines with the compelling narrative of TransElectric: My Life as a Cosmic Rock Star. Cidny Bullens’ artistry shines brightly in this exceptional work.
Taali- Taali
Labeling these thirteen tracks from acclaimed singer-songwriter Taali Billig (who goes by Taali) as eclectic is a disservice. Taali, who composed all the songs, produced them with Brian Bender, and handled the vocal and string arrangements, has created a sometimes mystifying yet often stunning collection of work. The songs reflect introduction, isolation, and triumph. “Did We Die,” which sets the rollercoaster in motion, is a stark, chilling account of an honest confrontation with death. “Anywhere” tales on the leap into a new world with a nuanced and tender view. “Did We Survive” culminates Taali’s journey but raises new ones. Taali, with her crack band, paints outside the lines, which makes the album so engaging and brilliant.
DOWNES BRAIDE ASSOCIATION – CELESTIAL SONGS (POP): A captivating musical journey that combines Geoff Downes’ rich synth work with Chris Braide’s emotive vocals. Downes Braide Association weaves intricate arrangements and thoughtful lyrics on Celestial Songs to create an immersive experience that transports listeners to a realm of sonic exploration. The tracks blend electronic elements with progressive rock sensibilities, resulting in a harmonious fusion that resonates on multiple levels. Each song seems to tell a unique story, painting a vivid picture through its melodies and harmonies. The result is a testament to the artistic synergy between Downes and Braide, offering a tapestry of sound that’s both intriguing and musically satisfying. Though not a prog album per se, these complex yet hook-rich songs, stellar players and timeless arrangements shows how the partnership between Geoff Downes and Chris Braide continues to grow with each subsequent release. Check out the “Keep On Moving” and “Clear Light,” if you don’t believe me.
DUDU TASSA AND JONNY GREENWOOD – JARAK QARIBACK (FUSION/WORLD): This collaborative album by Duda Tassa, an acclaimed Israeli artist, and Jonny Greenwood of Radiohead fame is a captivating musical journey that beautifully marries Tassa’s Middle Eastern influences with Greenwood’s experimental proclivities. The album’s fusion of traditional Arabic sounds and modern electronic elements creates a unique sonic landscape that is both mesmerizing and thought-provoking. The project was produced by Tassa and Greenwood and features soulful vocals, coupled with Greenwood’s intricate arrangements, resulting in a collection of tracks that is rich in emotion and atmosphere. The duo cast a small but diverse group of musicians and utilizes singers such as Safae Essafi on the song “Ahibak” to create an enchanting and melodic series of songs. The seamless blending of different cultural elements showcases the artists’ incredible ability to bridge gaps and create something truly extraordinary. This LP is a testament to the power of cross-cultural collaboration and artistic innovation, making it a must-listen for anyone seeking music that defies boundaries and embraces diversity. Check out “Djit Nishrab,” sung by Ahmed Doma; and “Lhla Yzid Ikhtar,” which features Dudu on vocals. Jarak Qaribak is a rewarding journey.
RICKIE LEE JONES – PIECES OF TREASURE (JAZZ/POP): One would think that Rickie Lee Jones would no longer stir strong emotions after almost 50 years. Instead, her current release of jazz standards conjures the same feelings that I had when I first heard her self-titled debut in the late ’70s. Granted, Jones has released a few cover projects, some brilliant (1983’s A Girl and Her Volcano) and one godawful (1991’s flaccid David Was-produced Pop Pop). But. Jones is an artist in the truest sense, and never one to ignore her muse. Reconnecting with producer Russ Titelman at New York’s Sear Sound in the summer of 2022, Jones is joined by a tight band including Rob Mounsey on piano, guitarists Russell Malone and Jon Herington, bassist David Wong and drummer Mark McLean. They provide subtle and textured support to Jones’ still unique and expressive voice. Along the way, songs like “All the Way” and “Nature Boy” take on a new life. Each is born again through Jones’ interpretation, while Titelman keeps the playing loose and breezy. Add Pieces of Treasure to the list of classic Rickie Lee Jones albums. This is 10 pieces of musical gold.
DEREK SHERINIAN AND SIMON PHILLIPS – SHERINIAN/PHILLIPS LIVE (PROG ROCK): A captivating and electrifying masterpiece that showcases the exceptional talents of Derek Sherinian on keyboards and Simon Phillips on drums, along with Ron “Bumblefoot” Thal on guitar, and Ric Fierabracci on bass. Sherinian/Phillips Live takes listeners on a thrilling musical journey filled with energy, skillful performances, and impeccable chemistry among the musicians. “The Vortex” kicks off the album with a bang, immediately grabbing your attention with its infectious melodies and mesmerizing keyboard solos by Derek Sherinian. “Inertia” follows suit, showcasing the band’s ability to seamlessly transition between different moods and tempos. Sherinian/Phillips Live reaches its peak with the epic and captivating “Aurora Australis.” Clocking in at over 11 minutes, this epic allows each musician to shine individually while maintaining a cohesive and dynamic sound. Hopefully, a full-scale tour is in the works. If not, this collection will have to serve for now.
The Rufugees – California
Combining three stellar singer-songwriters and great classic rock songs is not a guarantee of success. Fortunately, Cidny Bullens, Deborah Holland, and Wendy Waldman know how to deliver tasty arrangements and stellar vocals. Their album-length tribute to the Golden State is a primarily acoustic affair produced by Waldman and Abraham Parker. The tender covers of classic California rock songs run the gambit from the expected (Buffalo Springfield’s “For What It’s Worth”) to pleasantly surprising (Sly and the Family Stone’s “Stand”). The arrangements superbly match the Refugees’ vocal talents, as Holland and Waldman’s acoustic guitars and Bullens’ mandolin sparkle. In the end, California provides an excellent gateway to their solo and group catalogs.
ALEXIS EVANS – YOURS TRULY (SOUL): Alexis Evans’s new album is authentic and compelling neo-soul. The writer, producer and composer gathered an energized band to enliven his compact and vivid stories. Evans’ 2019 album, I’ve Come a Long Way, was a perfect sophomore effort. Yours Truly doesn’t attempt to reinvent his formula. That’s fine, as songs like “What Is This Feeling” and “Let Them Loose” are emotional, descriptive and fun. Add to this formula Evans’ powerfully soulful voice and Memphis-inspired guitar work, and you have one of the best albums of the year.
PROJEKT GEMINEYE_WHAT LIES BEYOND
Projekt Gemineye returns with “What Lies Beyond”, an album that is fully contained, not continuing the themes from the three prior releases. The brainchild of Canadian hard-rocker Mark Anthony K, the album now available on colored vinyl, takes a slight turn with a pile-driving series of epic songs.
“Cyber-Wonderland” finds K with his guitars turned up to 11. He’s continued to hone his craft, with a bass guitar has an unmistakable treble feel which counters the snarling guitars. Mark Anthony K’s vocals are out front in the mix, highlighting his future vision.
At more than 11 minutes, “I’m Free” is a fantastic roller coaster. K starts with a delicate lead vocal accompanied by nuanced finger-picked acoustic guitars. The track develops with Billy Sherwood-like melodic bass and swirling drum paradiddles before the pace picks up, and Mark Anthony K steps forward with a towering lead guitar over a mountain of switching rhythms. At this point, K shifts his vocal approach from delicate to angry.
What Lies Beyond stands among Projekt Gemineye’s best work. Get the compact disc so you can get the bonus track, or better yet, order the limited-edition colored vinyl too.
Honorable mentions:
Percy Howard- The Stars and The Well- The California based singer songwriter delivers a series of fascinating compositions with intriguing arrangements touching on rock, R&B and jazz. Special guests Vernon Reid and Matt Chamberlain add a little spice to Howard’s strong compositions and powerful vocals. The results is an album which you must seek out.
Yes- Mirror To The Sky- More than 55 years in music but the band still progresses. What’s old is new again with 9 strong songs, lively tempos and powerful lead via Al’s from Jon Davison. Mirror to the Sky is better than Yes fans deserve.
Janelle Monae- The Age Of Pleasure- Streamlined yet artistic and funky. Monae delivers yet another must own album.
Preston Frazier: Michael Leonhart is a great honor to speak with you. Your career has spanned well over thirty years. At Seventeen, you were a Grammy winner, and there are so many projects I would want to dig into with you, but we’re going to start with your current album with rapper JSWISS called Bona Fide.
How did the collaboration that come about?
Michael Leonhart: I had the residency at Jazz Standard with my eighteen-piece orchestra.
I planned out a couple months in advance and was going to jump into the Blue Note Suite and do some exciting stuff like Duke Pearson and some early Wayne Shorter and some weird stuff. I thought, ‘I’m gonna find the source of some weird hip-hop stuff.’
Then I thought about a drummer who would be doing the shows who could handle hip-hop and an MC.
Black Thought from the Roots came to mind as the MC, but he was going to be very busy .
E. J. Strickland and his brother Marcus Strickland recommended JSWISS.
I spoke to him, and he was legit.
Electric Relaxation”, Eric B., and Rakim’s “Untouchables” were songs we tried out. Right away, at the first show, we both had a blast. We decided we should come back next month for part two.
We did the second show and I said ‘ you know if you’re around you have an open invitation to come back.’
I had in my book for the orchestra sixty songs and one of them is David Axelrod’s “The Edge” which Snoop and Dre did. I said that the songs aren’t like a museum piece, you could do your own verses on the song“Next Episode.”
And it just started happening and it was just it was just the way friendships and collaborations build. It was natural and we started writing songs.
PF:
Was his first appearance on your orchestra album, the Painted Lady Suite?
ML:
He’s not on Painted Lady.
The first appearance is actually a weird a and b side single that Sunny Side put out of the orchestra live at jazz standards.
The first release of the orchestra’s actually that “Electric Relaxation” A-side “Untouchables”, B-side. He and I had started writing original music together and I knew it wasn’t going to be for the orchestra.
I decided to involve my samplers and horns and the two of us writing stuff.
I don’t go in with a preconceived notions. I get a sense of what’s going to be cool for the orchestra or great for a small group or if I don’t know what pile the song fits in. So with Jay I thought let let’s not try to force this into something, let’s just write great songs. And that’s how it developed.
PF:
Talk about the writing process for Bona Fide
ML:
We started in late December 2019 you start off with one song called “On the Money.”
We were working in person in the studio. And I we did his vocals together in the studio and then January stuff started getting a little weird; February of 2020, stuff starting a really weird and then locked down happened and once we all kind of you know, came out of our madness
We decided to keep writing remotely. We would talk on the phone and we had more days and then I was just making beats and I was making more basic going tracks so around April and May of 2020 it was a a lot of back and forth, a lot of FaceTime.
I give him the freedom to do it with the lyrics, and I take the reign on the production, and then we start kind of sharing concepts.
PF:
You’re sharing concepts with with regard to the lyrics what about the music?
ML:
It’s the same with the when I produced Fagen’s Sunken Condos. You don’t write lyrics with Donald.
If he was stuck and I heard something egregious, I would say something. If I thought that we were really missing something glaring then I would say ‘Hey that caught my attention’ but (with Donald Fagen) most of the lyrics comes in fully formed.
Same with JSWISS. He’s a real writer so as the producer if I hear something that doesn’t feel right or that just doesn’t make sense or I know he can do better than I’ll say something.
If I have a beat texture that doesn’t feel like it hits hard enough he would say, ‘Hey can we make that hit harder’, and I would make it hit harder and that’s the collaborative process.
PF:
My first album of yours that I bought was it was Glub Glub volume 11. The second album I bought of yours was Slow. I still am captivated by Slow it but it seems like such a shift away from Glub Glub volume 11. How have your demos and preproduction process changed since then?
ML:
Really not a lot that’s the funny thing. I found a whole bunch of sketches at my parent’s apartment. Recordings demos, and I realized it hasn’t changed that much.
I’m a little more patient. I’m not quite as difficult on myself but the process is the same like in terms of channeling how I demo.
PF:
How fleshed out are your demos or are they a finished product?
ML:
I’ve always loved the finite structure of four track and eight track and I have the tape a four twenty four it’s a tape cassette (recorder); That I keep in the studio. The sound is cool but it’s also the structured and prevents me from going too far down the rabbit hole. Now I use Logic and some Pro Tools, but I can catch myself going off the rails.
PF:
Thanks for the overview of Bona Fide with JSWISS.
If you have a few more minutes, can we chat about your Orchestra work and Steely Dan?
ML:
Sure
##########$$$$$STOP FIRST INTERVIEW#######
Part 2:
###Part 2 Interview with Michael Leonhart – Bona Fide, Steely Dan, and The Normyn Suites
PF
Did you have projects lined up during your break with Steely Dan?
ML
Well, the idea of a break with Steely Dan is misleading. We typically do three to four months a year since 2007, but you never know for sure, because Donald’s mercurial. He’s open about it, so I think we’re we are going to tour next year. And it’s not planned out and set in stone. While I love playing with Donald, thank you, knock on wood, it’s been a while, and it’s part of a family, but I’ve always thought that I could be replaced. Everyone does.
PF
You’ve been there since 1996, along with your sister (Carolyn Leonhart). You two are the last two standing band members from the second phase of touring, which is remarkable.
ML:
Let’s not forget Catherine Russell, who was on the ‘93 and ‘94 tours.
And I think part of why we’re still around this is that we never take it for granted. I never assume I’m going to be there. People who have gotten relieved of their duties are the ones who often like, “yeah, yeah, I got this,” and we’re cocky or we’re too comfortable in their position.
You need particular alertness and specific energy, not a lot of nervousness but a realization that this could be the last show you ever do, so let’s make it count. If you keep on doing that, you’ll have a great show.
PF
I am jumping back to the Bonafide album, the song “Bona Fide” which has a drummer named Nick Movshon, who also plays live drums on four other pieces. Discuss that song.
ML:
Nick Movshon is first a bass player; he’s the bass player on most of the Amy Winehouse’s albums.
He’s a great bass player. We played together in several bands, including Sharon Jones and The Dap-Kings, among others;
He plays drums amazingly well too. Typically, guys like Mark Ronson use Nick on bass and Homer Steinweiss on drums.
Those two have played together since they were in high school or even before, and that’s cool Homer’s on a bunch of tracks on the Bona Fide album, and so is Nick.
They each do their different thing and provide a different flavor.
I don’t think of Nick as a bass player solely. I believe that his first language is bass, and he speaks drums fluently, or maybe you hear a little accent when you talk drums the same way my first instrument is a trumpet. And it’s also kind of piano speed and dexterity, but harmonically I can sit there and go to all these places, but on drums, I have an action. I play drums a lot of people, but it’s not my main instrument, and I have a lot of flaws and shortcomings on the instrument. But I have a unique feel.
On the song, I vari-speeded up about twenty percent starts to sound like Clyde Stubblefield, kind of like Al Green sound when I pitched it up. Very much like a piccolo snare.
PF:
On the song “The Chase,” you used a Guest trumpeter?
ML:
Yes, Keyon Harrold. There was a WBGO tribute to Fagen, and I was asked to MC it.
And at the last minute, they asked, ‘how do you feel Keyon Harrold plays trumpet ?’
Yeah, he’s excellent, and we hadn’t met, but he’s played with Common . He’s a deep jazz trumpet player. He also can understand the hip-hop world. And played with Snoop Dogg and Robert Glasper, and he did all the trumpet stuff for the Miles Davis biopic with Don Cheadle.
So I was putting together a lot of charts, and it was a lot of spinning plates, and he came in. It sounds great.
There was a second opportunity to work together. And he blew me away again, he just played but also had no attitude.
I enjoyed being a leader, yet if you hire me to be a sideman. I do what serves a greater purpose and I don’t need to be an orchestrator.
I thought it would be nice to get other people involved in the JSWISS album, and he was a great fit.
So it was the same dance of trust, and he just crushed it.
PF:
I’m going to shift gears a little to discuss a few of the projects you’ve been involved in as a player or producer. I want to start with the 2001 album Bein’ Green by Donna Leonhart.
ML:
That’s a deep one! We were sitting in their kitchen. I had moved out. It was late 1999; I was 25 and at their apartment, and my mom said, ‘you know, I think I wanna record an album now,’ and I said, I think it’s great. And then she said ‘maybe you and dad (Jay Leonhart) could produce it,’ and I said, well now it’s a little less great.
I said, ‘knowing how this works, I think you need to ask yourself over the next three or four weeks what’s right for you. It should be dad producing or me, but I don’t think it will be fruitful to have us both’. She said ‘you know I spoke to dad, and I’m thinking about it, and I’d like you to produce it.’ You don’t want too many cooks in the kitchen.
When we got to Manhattan Studio on 27th street, I remember there was a day when we came in, we had a six-hour session, and she showed up on time, and she brought me some mail, and I said, ‘ no Mom, it’s hard to play both parts (son and producer) could you give me mail at the end the session?’
That was the first step in laying down the groundwork. Then about three weeks later, she said to me, ‘Michael, You’re you’re not listening to me.’ It was about the tempo of a song or something, and I realized she was right.
Once we had those things in place, we were cooking.
I had Chris Potter on bass clarinet too; it’s really a sleeper album.
No one sings like her, she is genuine. That’s the secret sauce.
PF:
Let’s chat about the 2000s Two Against Nature by Steely Dan. You handled most of the horn arrangements?
How did that come about? I think Walter, Donald, you did the first song, “Gaslighting Abbie,” together the rest were either you or you with Donald?
ML:
That’s right, for the most part. It would never be Walter and me. It was always either myself, me, and Donald, or Donald, Walter, and myself.
It was probably 1998 and they’ve been working on the album for two years, not nonstop. They spend three months, and go to Hawaii and book sessions, and it was through the grapevine I heard things are being recorded in New York too. It was pre-internet, so you didn’t hear the songs. You had to be in a studio to listen to things.
Donald told me about the album, and I threw my hat in the ring to arrange stuff.
He said, ‘ can you take rejection?’ I said yea, and he ‘I’m serious, ‘and I said so am I!
A few weeks later, he told me he had stuff to write horns on and then I went to River Sound; Roger Nichols was there, and they had finished a few basic tracks.
I came in the studio and they said to Roger and an assistant, ‘okay, just record.’ We had open 57 Shur microphone we’re talking through ideas.
The basic structure of the song “Two Against Nature” was being worked out. There was a Wurlitzer, piano in the studio, so I was playing the Wurlitzer, and I was coming from a Tom Scott /Victor Feldman (method) in terms of voicings on the piano from Victor Feldman and Tom Scott in terms of the approach to the sound of the horns (but played on the piano to convey a horn arrangement).
I think Walter said, “Hey Roger, just record this on to tape. And so I did like two or three intros.
Possible horn things and just comping. They used it on the album.
It had that kind of Victor Feldman or Herbie (Hancock), 70’s approach to jazz and pop music where you would respect the chord.
I didn’t think they were going to use it, so I thought I might as well play whatever the fuck I wanted.
I’m thinking we’re going to replace my intro with something else and then Walter was like, ‘ no, no, it’s cool.’
PF:
Were the horns the last part to be recorded for the album?
ML:
Yeah, or maybe a little sweetening. We did a whole section with an entire session on “Two Against Nature” with Alto flutes and a French horn, but there was an issue that didn’t get kept.
They said there’s an issue with this sound or something, or we’re going to redo that, so let’s bring everyone back, and I knew how much that would cost, like six hours recording the same musicians, pay them all again, but we had to redo it, so we did another session without the alto flutes. What I was thinking of was a Mancini and Gil Evans thing, but they wanted to trim it down, so we did five or six horns.
This was in the final 3 months of recording and then Chris Potter came in to play those solos and I was there to talk about if we needed additional parts.
You could do it all together as a band but the Steely Dan albums, you have that rhythm section of five or six people, scratch vocal , maybe you can keep the vocal then, depending on the song, it would either be Donald finalizing his lead vocal or having a better lead vocal that’s mostly scratch, you get the background vocals that are final and then right around then, the horns are being written and you land the horns at the end of the process.
PF
How did your 2020 album, Slow, come about?
ML:
I worked with Jon Herington so he and I got together a lot.
It was really like I had found someone I connected with.
I didn’t think I would ever want to do a duet album because even though I was very young, I knew that I didn’t like it when people over played so I didn’t have a desire to be with the great pianist or a guitar player that would just play tones of notes I want someone that would be intimate and minimalist.
I wanted to give him a chance to layer it. He was on board with the two different directions.
As I’m talking to you I realize that it’s not that far apart from the album my dad did with Joe Beck called, There’s Gonna Be Trouble.
Half the album with Joe Beck on guitar and my dad on bass and singing. Half the album it’s my dad with his Juno- 60 (synth).
That was the blueprint, you can do any kind of album you want as long as it sounds cohesive.
Use these two different lanes and very live and things that were kind of built up a little bit and then we added a lot of elements. John was so wonderful on Slow.
PF:
There’s so many other great albums that you’ve done or been involved in. I want to talk about the first solo album by Jamey Leonhart, 2006’s Forward Motion.
ML:
I was producing her album before we really fell in love. It was an e.p.
I realized in the middle of producing, I thought this woman is so beautiful and so electric and so just full of life and creativity I think that’s falling madly in love and it’s not the time to tell her.
We finished the album. And it was like two or three months afterwards I was very patient and I confessed my love. And it was reciprocated and then we know we are getting married and then she wants to do the followup and I said I would love to I’d love to produce and she’s about to do the arrangements she said you really understand my voice again, my pleasure and I had The Truth About Suffering (2008).
Forward Motion we did I think we did the basic tracking out of it studio in Brooklyn. It was a great studio with mellotron lots of older Ludwig and Slingerland drums and a great Neve mixing board.
We did the tracking there and then did some sweeping strings at my studio.
Jamie is a poet.
She’s so tuned in to lyrics and the meaning of the them. That in the same way that my mother sings very naturally and doesn’t really think about. The lyrics just come out.
You know that she gets the meaning of lyrics in a way that many singers just miss.
She was an English major. She understands nuance and subtlety, that that’s her secret weapon.
There’s a new one coming out soon. We are releasing The Illusion of Blue in bits and pieces.
It is taking a while to complete it’s gorgeous .
It’s likely going to come out as a part one and part two. (it’s out now in digital formats)
Conceptually there are six songs on each part with originals covers. Jamie did so she’s very careful about curating how she puts together these things.
My orchestra finished the third album, The Normyn Suite .
It is such a special profound album for me because it’s about the dog dying, but it’s about more than that. It’s about selfishness versus actually taking care of something or someone else. It’s about loneliness, solitude, and mortality.
PF:
it’s a it’s a wonderful project I love the album and I love your work with JSWISS. Thank you I really appreciate your time.
ML:
Likewise thank you for asking any time you know we could we could do a part two.
SER: Preston goes Track by track on Chiaroscuro with Mark Anthony K and Joe Bailey of The Dark Monarchy
Mark Anthony K: Honestly, this album was written with no concept in mind. At least for me…I simply wrote what came to me at the time. It was only after we had the songs recorded and mixed did we realize that the concept was staring us in the face.
Joe Bailey: And after listening to everything we had written for this album, ‘Chiaroscuro’ was a perfect title!
Joe: This song was originally my idea; I wrote the first part of the song.
The piano section at the beginning was written after I had written the main synth melody.
I thought that a piano intro for the song would work nicely, and upon completion, quickly realised that this would be a brilliant opener for the album.
Mark and myself continued our usual writing approach, as we have done for all of our releases.
This is where we each write the opening three to four minutes of music, and the other completes and arranges the song.
It’s a formula that works beautifully for us.
Mark: Joe wrote the lyrics to this song. Usually Joe has a vision of how he hears the song…and writes parts that he feels suits my voice the best. I think this time it was a little easier to do as my voice has improved since the last Dark Monarchy. Joe has a great sense of vocal dynamics…it really helps give the song a nice flow to the words.
Joe: I deliberately wanted Mark and myself to sing back and forth.
I really like the contrast between the two voices, Mark’s vocals are awesome here.
Mark: This song is a great example of light and dark. Lyrically the message seems pretty clear but what makes it work is the harmony vocals…the low parts that Joe sings in the beginning really add a sense of mystery. The bridge section vocals has me singing in a falsetto voice. . Which I’ve never done before ..and adds another level of dark and light.
Joe: this was another song that I started.
And again with another piano intro!
The lyrics are about loving yourself, and being at peace with who you are.
It’s about fighting demons, but with a positive message.
The lyrics here, I feel it demonstrates a nice contrast between light and dark.
Mark: I wrote the lyrics to the “Travelers Tale” and your right Preston it was written about a traveling musician’s life. But those things that I speak about are not only things that a musician would think about. Its people in general. I’m a big beliver in traveling as a way of further educating oneself. You can only learn so much from books or TV. ..but seeing things and places with your own eyes often give the person a new appreciation. I feel that people go through life often missing some of the wonders around them or the things we as a people have done for example ” The buildings reaching for the sky…the Freeways built 6 car lanes wide”. Open your eyes.
Joe: This song was started musically by Mark, and he wrote the lyrics for this one too.
The lyrics are relatable for everyone in some way, but I feel they are very personal to Mark too.
Mark: Mark: I wrote the Guiding Light. This song I approached in the style of old story telling. The kind if story you can imagine a grand father telling his grand kids one evening in front of the fireplace.
I’ve always loved bands like Rainbow or Black Sabbath when Ronnie James Dio was the singer. His type of story telling through song is a big influence on me.
The ebow was Joe’s idea and he plays it on the song. He is a great guitar player..so it made sense for him to play it.
Joe: I totally agree, I get massive Projekt Gemineye vibes from this song!
And that middle 7/8 section was just screaming for an e-bow!
Joe: I came up with the opening few minutes for this one, and the lyrics are mine too.
The lyrics are dark, angry and wistful.
The music is aggressive at times, and totally epic!
It was nice to be able to perform some lead guitar work on this album, I’m glad you enjoyed it!
Best of 2022 (Jazz)
Michael Leonhart ORCHESTRA – THE NORMYN SUITES (JAZZ)-The constant in every Leonhart project is his excellent gift of melody and ability to draw the listener in. “Shut Him Down,” the album opener co-written with guest vocalist Elvis Costello, combines all Leonhart’s melodic gifts with Costello’s powerful and expressive baritone. Leonhart’s horn chart is sparkling and powerful, and frequent collaborator JSWISS provides a power rap to move the song further forward. The Normyn Suites is dedicated to Leonhart’s dog, who recently departed, and serves as a testament to connection and love. Michael Leonhart’s “The Normyn Suite #2 (Love and Loss)” was constructed during the dog’s final days and displayed a range of emotions and musical dynamics. Guitarist Bill Frissell is prominent on “Waking For Sedation,” and keyboardist Larry Goldings also lends his magic. These special guests never distract or overwhelm Leonhart’s composition. He is a remarkable arranger and bandleader, melding heady pieces to create a cohesive and emotionally compelling album. These 17 songs are yet another example of why Michael Leonhart is among the best jazz composers and arrangers today.
BOBBY BROOM – KEYED UP (JAZZ): The opening chords of “Second Thought” confirms instantly that Bobby Broom continues to elevate his acumen. He brings along long-term band members Kobi Watkins (drums) and Dennis Carroll (bass) for yet another spirited ride of contemporary jazz, with pianist Justin Dillard joining them for a daring adventure through time-tested jazz standards. With a recording career dating back to the early 1980s, Broom is as skilled an arranger as a guitarist. The interplay between Broom, Dillard, Watkins, and Carroll makes me truly believe in telepathy. Additionally, space is granted for Bobby Broom to stretch his legs on songs like “Humpty Dumpty” (check out Dillard’s electronic keyboard solo) and “Driftin’.” Broom and his band will awe you while leaving a smile on your face.
Johannes Wallman- PRECARIOUS TOWERS (JAZZ): Jazz pianist, composer, and educator Johannes Wallmann seems only to be picking up steam ten albums into his career. Precarious Towers, recorded in February 2021, puts Wallmann’s new Chicago-based band through a rigorous workout. The title track is filled with rhythmic twists and turns, yet struts with a funky melody and able solos by Wallmann on piano and features alto saxophonist Sherel Cassity. “McCoy,” a tribute to McCoy Tyner, is an elegant sendoff to the legend but doesn’t rely on the predictable. Vibraphonist Mitch Shiner adds nuance to the more-than-able rhythm section of John Christensen on bass and Devin Drobka on drums. Wallmann’s piano solo is touchingly inspired as well. The album closer, “Saturday Night Meat Raffle,” will have you grinning from ear to ear with its vivid vibe passages and expressive drumming.
Johannes Wallmann and his band pack a lot of good stuff in Precarious Towers. So much, so that repeated listening is a requirement. That’s the hallmark of a great album
Mark Wade Trio- True Stories- The album starts with one of two originals, “I Feel More Like I Do Now.” Tim Harrison’s acoustic piano sets the central theme, quickly shifting with the time signature changes. Wade’s bass solo is as expressive as ever, and Scott Neumann’s snare and rim work add to the dynamics. The song harkens back to jazz classics of yore, setting a high bar. One of my favorite songs on the album is “The Soldier and the Fiddle.” It’s a seemingly simple introduction, which is centered on Wade’s single repeating note on the bass gently giving way to his glorious solo, which is followed by a solo by Harrison, which adds to the song’s ascent. This Mark Wade composition is said to be inspired by Igor Stravinsky. I can not make that music connection, but I will attest to the fact that “The Soldier and the Fiddle” is a piece that seems to evolve and unfold with every listen. Indeed this album becomes more rewarding after each listen.
SIMON PHILLIPS – PROTOCOL V (JAZZ FUSION): Hard to believe it’s been five years since the last Protocol studio album. Phillips released an excellent box set that covered his Protocol output and rarities a year or two ago, but the band itself has been dormant. At the same time, Phillips engaged in production duties such as the grand Darwin albums, among others. Protocol V continues Phillips’ jazz-fusion ambitions with another fine lineup. This time, guitarist Alex Sill, saxophonist Jacob Scesney and keyboardist Otmaro Ruiz join Phillips and long-time bassist Ernest Tibbs in furthering the legend of the Protocol band. Sill follows a line of brilliant players, demonstrating his chops on “The Long Way Home,” yet Phillips’ expertly arranged songs find space for Scesney during moments like “Isosceles.” Check out Ruiz on “When the Cat’s Away” to hear how Simon Phillips is able to combine the best from each of these soloists, along with Tibbs’ infectious groove. There is plenty here to keep the die-hard drum fanatic happy (in particular on “Undeviginti”), but this album isn’t just a solo work but a proper band collaboration. It all comes together to create a welcome return of true musical maverick.
CATHERINE RUSSELL – SEND FOR ME (JAZZ/VOCALS): Accomplished song stylist Catherine Russell changes things up just a bit on her April 1, release, Send For Me. Not that the Steely Dan band vocalist needs to fix anything regarding her prior releases: 2019’s Alone Together made my best-of list for that year, and I always catch Russell’s invigorating live show whenever I can. This, her eighth studio release, has a bigger feel. Produced by Russell with long-time collaborators Katherine Miller and Paul Kahn, Russell’s classic-yet-expansive vocals are enhanced by the horn section on “Send for Me” – a song closely associated with Nat “King” Cole. Her bluesy take adds elements to the piece I’ve never noticed before. “Going Back to New Orleans” is another favorite, with strutting rhythm and touches of banjo and tuba all supporting Russell’s laidback vocal. Here’s another example of Catherine Russell transporting the listener to other locales with her delightful vocals and stunning arrangements. I guess some things never change.
ADAM LARSON – WITH LOVE, FROM CHICAGO (JAZZ): Saxophonist Adam Larson has accelerated his creative ventures as of late. The composer, bandleader, and educator are not one to let the grass grow under his feet but instead have seemingly increased his recording output. With Love, From Chicago represents the first of three recorded projects to be released in the next year and a half. On this album, Larsen engaged the astute drummer Dana Hall (check out the drums on “Angolan Babys”) and double bassist Clark Sommers, who shines throughout. These Chicago musicians provide a swagger fitting Adam Larsen’s warm yet challenging compositions and carefully selected covers. Other highlights include Adam Larson’s take on John Wojciechowski’s “Twirl” or his driving tenor work on Sommers’ composition “Kansas to Chicago.” If you’re a fan of challenging instrumental jazz, With Love, From Chicago will be a great way to end your 2022.
Michele Thomas- the assumption
The assumption, Michele Thomas’ crowd-funded 2022 release is a labor of love from start to finish. Accessible yet musically challenging, the singer-songwriter takes on mature themes such as the Black Lives Matter movement and the nation’s mistreatment of women. The album, divided into three chapters, builds like a spiraling and enticing play. “I Know Because You Told Me So,” co-written with Damian Espinosa is a stunning end to chapter one. “Spiral” a John Coltraine composition with lyrics by Thomas, makes clever use of her stellar band and her lyrical prowess. The final chapter concludes with a cover of “Can”t Find My Way Home,” originally by Blind Faith. The song contains yet another stunning vocal delivery. Bold in concept and brilliant in execution, co-producer Darren Scorza worked with Michele Thomas to produce an album of originals and covers that dazzle from beginning to end.
Thoughtcast – Nimbus in Motion
Leader and bassist Graydon Peterson along with his inspired band deliver adventurous, layered and powerful songs. Peterson uses touches of electronics and pedal effects to provide nuanced and contemporary sounds. At the heart of Nimbus in Motion, are forward leaning compositions such as ,”Feeling Unprepared” and “For the Drum” . However, it’s the band that carries out Peterson’s grand vision. Drummer Ben Ehrlich swings with wild abandon on “For The Drum”; Peterson’s approach to “The Bellhop” is memorizing, and trumpeter Jake McGlone and keyboardist Joe Strachon add vivid touches of musical color throughout. This is a great listen from start to finish.
JEFF DENSON, BRIAN BLADE + ROMAIN PILON – FINDING THE LIGHT (JAZZ): Finding the Light is the result of a few gigs drummer Brian Blade played with bassist Jeff Denson backing Joel Harrison. They decided to expand on their chemistry, initially enlisting guitarist Romain Pilon for 2019’s trio-recorded Between Two Worlds. The follow up is enthusiastic, challenging, and endearing. “Daily Jubilee,” with Blades’ faux shuffle, Pilon’s challenging fretboard runs, and Denson’s meaty bass, is endearing and densely packed. “Terre” is perhaps my favorite song on Finding the Light. Composed by Pilon, the song is bluesy, and dark. Bassist Denson starts the slow-burning fire with his expressive bass intro, only to have his challenge met by Blade’s brush work and Pilon’s meaty picking. The song is the musical equivalent of a fine bourbon. Out now on Ridgeway Records, Finding the Light should not go overlooked. Hopefully, they will take this on the road soon.
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