The pairing of a multi-instrumentalist/jazz scholar, Colin Hancock, with a multi-Grammy-nominated vocalist, Catherine Russell, is a match made in heaven. Russell, fresh off her 2024 collaboration with Sean Mason, has consistently proven her versatility as a jazz vocalist. Hancock, an able producer, writer, and arranger, frequently works without a net and has cast his skilled band of enthusiastic players deep into the world of 1920s jazz and blues. ‘Cat and The Hounds’ is not just a glorious result of these talented musicians; it is also an education in the black jazz music traditions. 

Hancock is not only the producer of the album, working with the talented Paul Kahn, but also pulls double duty, playing both cornet and saxophone. The Hounds also includes drummer Ahmad Johnson, tubist Kerry Lewis, trombonist Dion Tucker, reedist Evan Christopher, and pianist Jon Thomas. 

Russell and Hancock pulled a fantastic collection of tunes that represent Black blues in Jazz of the 1920s. 

The album opener, “Panama Limited Blues,” has a personal connection to Russell as her father, Luis Russell, traveled from Panama to the South. Additionally, he played piano on the original from 1926. In this setting, with Jerron’s mournful harmonica and Thomas’s ragtime piano, the album is off to a powerful start. Russell’s vocals, which were recorded live in the studio with the band, are expressive and powerful as ever. 

“Telephoning the Blues,” the collaboration of Luis Russell and Victoria Spivey from 1929, drips with blues and sass. Soloist Dion Tucker’s beefy trombone matches Russell’s determined vocal delivery. 

“Gypsy Blues” is a jaunty take from the 1921 musical by the greats, Eubie Blake and Noble Sissle. This instrumental finds The Hounds in full flight, utilizing reedist Evan Christopher and pianist Jon Thomas to significant effect. Hancock’s arrangement shines brightly. 

Jerron Paxton takes a turn at the mic with Russell on the provocative, “Elevator Papa, Switchboard Mama”. The song from the 1930s is in good hands as the pair preach through the evocative lyrics, which the Hancock’s cornet coyly works its magic. It’s the definition of great fun, evoking a vision of a 1930s vaudeville.

“West Indies Blues” combines 1920s Black dance music with Caribbean influences. Vince Giordano brings his bass saxophone to the party, which adds to the song’s powerful dynamics and is very complimentary to Russell’s spirited vocal delivery. 

“Goin’ Crazy With The Blues” features the band’s telepathic interaction, Hancock’s subtle cornet, and Tucker’s preachy trombone soloing. Russell’s delivery matches the musician’s passion, lifting the great song even higher. 

“Sweet Man” ends the cycle of twelve dynamic blues/jazz songs. The album closer, popularized by Ethel Waters during her tenure with Alex Jackson’s band, features an equally dynamic cornet solo by band leader Hancock, timeless banjo work from Jerron Paxton, and Russell’s vocals, which evoke Waters’ original while adding her own unique and poignantly effective stamp. 

‘Cat and The Hounds’ is delightful on so many levels. Evoking the Black jazz, blues past while showcasing tasteful arrangements, stellar playing, and first-class vocals. Colin Hancock and Catherine have created a look back at great music while also creating something new, which deserves a broad audience and begs for repeated listening.