|The Break Up||Detroit Swindle|
|The Make Up||Detroit Swindle|
Snapshot is a budget-line compilation focusing on Bob James' '70s recordings. The '70s were prime years for the keyboardist, who pioneered a smoother, more R&B-influenced jazz sound. Included here are such cuts as "El Verano," "Love Lips," and "Feel Like Making Love." Also included is James' classic theme song to the TV sitcom Taxi. However, while most of the tracks here are from the '70s, there are several later-career cuts toward the end of of the disc, including "...
Stop That!" off 1990's Grand Piano Canyon and "Niles a Head" from 2006's Urban Flamingo. While there are more essential James collections available, Snapshot is a pleasant listen.
With guitarist Andrew Neufeld still acting as Scott Wade’s replacement, Comeback Kid’s fourth album is another steady assault of screaming hardcore. Symptoms + Cures finds the Canadian punk-metal troupe focusing on brute force and hits the ground running in a quick, spirited rock-out session. The album is polished and pure, but a touch heavier than prior outings, with Neufeld’s raspy vocals howling like a turbine engine as the rest of the band (Hiebert, Hjelmberg, Keil, and Profetta) blaze furiously through 11 songs. Along with occasional gang yells, spit-filled vocal cameos include A Wilhelm Scream’s Nuno Pereira (“The Concept Stays”), Cancer Bats ’ Liam Cormier (“Balance”), and Architects’ Sam Carter (“Pull Back the Reins”). Even with the variety, the album doesn’t change gear or break stride: it’s continually harsh and urgent, with the occasional melody thrown in for good measure.
The Easy Riders Jazz Band started recording its distinctive interpretations of classic New Orleans jazz back in 1962. The group recorded fairly regularly between that year and 1966, and then went on hiatus for more than 25 years before again appearing on record, still with its original Jazz Crusade label. The Easy Riders continue to be headed by trombonist Big Bill Bissonnette and original pianist Bill Sinclair is also hanging in. Sammy Rimington, who came on board in 1964, is still wailing away with his exuberant New Orleans-style clarinet. In addition to the new members, this album has a guest: trumpeter and vocalist Gregg Stafford. New members and guests notwithstanding, the band hasn't changed its inventive, enthusiastic response to the music and the way it's played, both of which are so unique to the Crescent City sound.The play list primarily consists of familiar pieces from the traditional jazz repertoire, with a couple of non-traditional jazz ringers thrown in like "Caldonia" and "What a Wonderful World." These two tunes feature Stafford's gravelly voice, so perhaps they were on the agenda to accommodate him. In addition to these, the program is filled with other gems.
The fortuitous selection of the Kid Ory arrangement of "Aunt Hagar's Blues" makes this one of the preeminent tracks on the CD.
Among other things, it has some well-placed shouts by Paul Boehmke. Kid Ory's "Savoy Blues," one of the classic tunes that has attracted clarinet players over the years, is a fine vehicle for Rimington. He gets help from Stafford, but it's mainly his show.
The highly syncopated "Climax Rag" is something one would be sure to hear in a Bourbon Street bar during the street's heyday as the wellhead of jazz. But the album really comes together in W.C. Handy's "Yellow Dog Blues," where the group is in ensemble (or as close to ensemble as traditional jazz ever gets) for more than 6 minutes; as individual performers, they let it all hang out for a rousing version of one of the favorite tunes of this jazz genre.It's good to have this group back in the studio once more, even though the Easy Riders have to go to Connecticut to record New Orleans music.