Just a Little Lovin'

Shelby Lynne is a soul survivor…an extremely talented singer and songwriter who won a “Best New Artist” Grammy years after she had started putting out records…a restless, creative spirit with a beautiful, sultry voice…and so the idea of her making a disc of covers of songs made famous by the amazing Dusty Springfield seems like a no-brainer. And, even more importantly, it made for one damn fine CD.

Springfield approached these songs like the big R&B/pop diva (that word used in the most affectionate and admiring way) she is…she inhabited songs with soul, passion, and verve. Lynne has those same qualities but she approaches the songs with a cooler, supper club vibe…subtle playing and, especially, nuanced singing…that breathes interesting, jazzy new life into some very familiar tunes (including sweet and smoky readings of “The Look of Love”, “I Only Want to Be with You” [see below], and “How Can I Be Sure”.)

The title track sets the mood with an evocative stroll and that is immediately followed by a beautifully yearning take on “Anyone Who Had a Heart” and a powerfully understated version of the often bombastic “You Don’t Have to Say You Love Me” that seals the deal on this collection’s greatness. Lynne’s wistful, self-penned “Pretend” fits like a glove with the 9 covers here.

The music…a quartet of keyboards, guitar, bass, and drums on most cuts…is masterfully played but it’s Lynne’s rich, compelling voice that effortlessly…and rightfully…holds the center and righteously carries the day on all 10 tracks here; she once again proves that great singers and great songs are in no need of vocal gymnastics to make them soar and shine soulfully.

This is music for slow dancing…or snuggling…with someone you have a serious thing for…unabashedly passionate and romantic music that isn’t the slightest bit cloying…great music, a tribute from one great artist to another, that is achingly heartfelt and wonderfully entertaining from the first track to the last.

Duets...Friends and Legends

There are a few ways that pop stars who were popular in the 60’s or 70’s (or even 80’s) can make a bit of splash on the scene long after radio has relegated them to the oldies stations; one of them is to gather together some famous friends and fans and take a trip through the old songbook with a collection of duets.

Anne Murray’s voice is not as supple as it was 30 years ago (but then whose is?) but it still has beguiling warmth that caresses the lyrics and brings a smile to jaded ears. On this disc, Murray (aided and abetted by legendary producer Phil Ramone) and her friends (all women) remake some of her old hits to very fine effect.

Murray’s creamy voice blends sweetly with her still potent contemporaries including the great Dusty Springfield (a charming take on “I Just Fall in Love Again”), the always-amazing Emmylou Harris (the sweetly plaintive “Another Pot o’ Tea”), Olivia Newton-John (the lovely, bittersweet “Cotton Jenny”), and Carole King (the wistful “Time Don’t Run Out on Me”).

She also holds her own with younger singers: Shelby Lynne (the feisty “You Won’t See Me”), Martina McBride (a grand take on “Danny’s Song”), the Indigo Girls (the hopeful “A Little Good News”), the ever-remarkable k.d. lang (a very beguiling version of “A Love Song”), Amy Grant (a luminous “Could I Have This Dance”), Sarah Brightman (a neat remake of Murray’s first big hit “Snowbird”), Shania Twain (“You Needed Me”), Celine Dion (a charming live duet on “When I Fall in Love”...see below), Celtic Woman (“Song for the Mira”), Nelly Furtado (“Daydream Believer”), Jann Arden (“Somebody’s Always Saying Goodbye”), Dawn Langstroth (who is Murray’s daughter, on a lovely spin through “Nobody Loves Me Like You Do”), and Isabelle Boulay (on a stately French version of “If Ever I See You Again”).

17 fine duets… as comfortable and soothing as a warm summer’s day…coming together to make a very fine CD.

U2 - Pride (In The Name Of Love) (Rattle and Hum)

"...for the Reverend Martin Luther King, everybody sing..."

River: The Joni Letters

It’s been quite the year for Joni Mitchell and her music. First there was the all-star A Tribute to Joni Mitchell collection and then there was Shine, the first new music in a while by the lady herself and now there’s this graceful tribute by her friend and occasional collaborator, the remarkable Herbie Hancock.

River: The Joni Letters finds Hancock, at the top of his considerable game, interpreting music written by (or somehow associated with) Mitchell with his passionate piano work leading a crack quartet including Wayne Shorter on saxophones, Dave Holland on bass, Vinnie Colaiuta on drums, and Lionel Loueke on guitar. The playing throughout is expressive, compelling, and sweetly simmering.

Joni’s poetic lyrical prowess is undisputed but equal attention is given to her amazing melodic gifts as well here. Some of the tracks…arranged and produced by Hancock and Joni’s ex-husband Larry Klein… are instrumentals while others feature an eclectic variety of accomplished vocalists.

“Court and Spark” leads off and features a fine vocal by Norah Jones and that’s followed by a stunning version of “Edith and the Kingpin” featuring a beautifully subtle vocal by the one and only Tina Turner over a tasty, gently-swinging groove deftly anchored by Hancock and Shorter.

Hancock plays solo on “Both Sides Now” for two very lovely minutes before the drums, guitar, and bass slip softly onto the track and coax it along to the point where Shorter joins the sweet fray and brings a lilting counterpoint to Hancock’s sweet playing. Shorter’s sax dances delightfully over, through, and about Hancock’s assured melody on the engaging version of “Sweet Bird”.

Duke Ellington’s “Solitude” features Hancock’s piano subtly but powerfully supported by Holland and Colaiuta while Shorter takes the lead on his own “Nefertiti” dueling playfully with Hancock’s nimble piano work. Klein takes the bass and Dean Parks (on guitar) and Paulinho Da Costa (on percussion) join in for a entrancing take on “A Case of You”.

Corinne Bailey Rae more than holds her own with the remarkable band on the title track while Joni herself brings her smoky, but still utterly compelling, voice and phrasing to “Tea Leaf Prophecy” (co-written by Mitchell and Klein). Shorter and Luciana Souza duet…his shimmering sax, her sultry voice…on a plaintively powerful version of “Amelia” while Hancock and the legendary Leonard Cohen duet…the snaky piano of the first, the undeniable gravitas in the recitation of the second.

The disc ends with a sprightly take on “All I Want” with a soulful and playful vocal by Sonya Kitchell.

For jazz buffs, Joni buffs, Herbie buffs, music buffs…River: The Joni Letters is a grand record for all of them…for all of us…to savor and luxuriate in.

Goin' Home: a Tribute to Fats Domino

Antoine “Fats” Domino is one of the towering figures in the birth and history of rock and roll and so it’s no surprise that a tribute to him would bring out an eclectic group of musical luminaries (including legendary vets like Tom Petty and the Heartbreakers, B.B. King, Robert Plant, Elton John, Neil Young, and two former Beatles.)

Goin’ Home: A Tribute to Fats Domino is a 2-disc collection of performances (some newly recorded, others not) of Domino’s delightful songs (he wrote or co-wrote 24 of the 30 songs here) with the proceeds from the set going towards restoration of New Orleans’ Lower Ninth Ward neighborhood where the New Orleans born Domino lived until Katrina flooded him out and to the Tiptinia’s Foundation, which is keeping the unique musical heritage of Louisiana alive.

The set gets off to a rockin’ start John Lennon’s raucous take on “Ain’t That a Shame” (produced by Phil Spector) and follows that with a sprightly “I’m Walkin’” by Tom Petty and the Heartbreakers and bluesy stroll through the title track by B.B. King (backed up by Ivan Neville’s Dumpstafunk.)

Both Elton John (on “Blueberry Hill”) and Paul McCartney (On “I Want to Walk You Home”) stay in their lower registers as they invoke the living spirit of “the Fat Man”. McCartney benefits from the production and piano work of the ever-amazing Allen Toussaint while John, of course, effectively tickles the keys on his track. Randy Newman slips into the sinewy groove of “Blue Monday” with accomplished ease (his grand piano playing ably aided and abetted with a sweet sax solo by Bill Liston.)

Taj Mahal and the New Orleans Social Club are gritty and funky on “My Girl Josephine” and Joss Stone is sassy and sexy on “Every Night About This Time” with the Dirty Dozen Brass Band and ace guitarist Buddy Guy. Corinne Bailey Rae is confidently soulful on a live version (recorded at Tipitina’s earlier this year) of “One Night (of Sin)”.

Lenny Kravitz teams up with the Rebirth Brass Band and legendary James Brown sidemen Fred Wesley and Maceo Parker for a rock solid, horn driven jam on “Whole Lotta Loving”. And the good doctor…Dr. John…comes to the proceedings with a sly, growly, mid-tempo stroll through “Don’t Leave Me This Way.” Bonnie Raitt is fine voice (no surprise there, of course) on a rollicking medley of “I’m in Love Again” and “All by Myself” with pianist/singer/producer Jon Cleary.

Art Neville, accompanied only by his own nimble piano work, offers up some fine blues on “Please Don’t Leave Me”. Similarly, Bruce Hornsby lets his piano do a lot of the talking…and an effective “speaker” it is…on his version of “Don’t Blame it on Me”.

Robbie Robertson joins forces with Galactic for the slinky soul of “Going to the River”. Galactic later backs up Big Chief Monk Boudreaux on the dense funky rock of “So Long”.

Robert Plant is in suitably nuanced voice on the swampy blues of “It Keeps Rainin’” supported by the rock solid Lil’ Band o’ Gold. Plant later joins forces with the glorious Soweto Gospel Choir for a heavenly version of “Valley of Tears”.

Neil Young’s graceful version of “Walking to New Orleans” with the Jubilee Singers of Fisk University (from the ReactNow Katrina aid show) fits onto this disc quite naturally.

Norah Jones’ sweet, smoky voice and sweet, nimble piano playing combine for a lovely version of “My Blue Heaven” while Lucinda Williams’ full-bodied blues rasp invigorates her rockin’ take on “Honey Chile”.

Marc Broussard…with the lovely mandolin playing of Sam Bush anchoring the band to nice effect…slides surely and soulfully through a gently loping “Rising Sun” while Olu Dara and the Natchezippi Band slip down a jazzy road with “When I See You”.

Ben Harper and the Skatalites make a joyful noise with their jaunty romp through “Be My Guest” while Toots and the Maytals bring a soulful reggae groove to “Let the Four Winds Blow” and the ever-wily Willie Nelson slows “I Hear You Knockin’” to a stately stroll punctuated by softly-soaring saxophones.

Irma Thomas brings the indomitable music spirit of the Big Easy to the fore with “I Just Can’t Get New Orleans Off My Mind” featuring great piano playing and harmony vocals from Marcia Ball while Herbie Hancock leads a crack quartet through an irresistibly funky take on “I’m Gonna Be a Wheel Someday”.

Los Lobos chug and churn through their way through a potent take on Domino’s theme song, “The Fat Man”, with guitars and saxophones combining to make pure rock and roll joy.

The Preservation Hall Jazz Band, Walter “Wolfman” Washington, and Theresa Andersson bring things to a righteous close with a rousing version of “When the Saints Go Marching In”.

Goin’ Home is a grand tribute to the great Fats Domino, to the rich musical history of the city of New Orleans, and to the eternal spirit of rhythm and blues and rock and roll.

Led Zeppelin

Led Zeppelin will reunite for one night to headline a tribute to Atlantic Records co-founder Ahmet Etregun. The show will take place at the 02 arena (next to the Thames River in London) on November 26.

Etregun, a legendary music executive and producer, died late last year. He signed Zeppelin to Atlantic in 1968 and the band recorded for them for the entirety of its existence.

Founding members Robert Plant, Jimmy Page, and John Paul Jones will be joined by Jason Bonham, the son of the band’s late, undeniably great drummer John Bonham at the gig; this lineup last played together at the concert celebrating Atlantic Records’ 40^th anniversary back in 1988.

The show will also feature Pete Townshend, Foreigner, and former Rolling Stone Bill Wyman (with rumors that Mick Jagger might also show up.)

Elvis

This week marks the 30th anniversary of the day that Elvis Presley died (and I think it’s time that everyone just accepted the fact that he is indeed singing in the choir eternal in whatever you think Heaven is and let him rest in peace.)

And yes I remember where I was when I first heard the news (fresh out of college, I was toiling away in the administrative bowels of Max Factor & Co. and the ladies in the accounting department were buzzing about it. At first I thought it was just a silly rumor but, of course, it turned out to be true.)

My first exposure to Elvis was through those (mostly) dreadful movies he made (thanks a bunch, Colonel Parker) so I didn’t really get the “king of rock and roll” thing when I was boy. But I came to understand it better as I got older and got exposed to the music not cranked out for those movies.

However strange the man’s life might have gotten in his latter days, Elvis could flat out sing and work a crowd like no one’s business. From the plaintive balladry of “Are You Lonesome Tonight” to the potent soul of “Suspicious Minds” to the rock and roll joy of “Burning Love” (see live video below), Presley was in a class all his own when he was on his game.

30 years…it seems amazing that it’s been that long…but, of course, thanks to the music and the impersonators and, most importantly, the memories of everyone who ever enjoyed his music or loved him, Elvis is never going to be truly gone.

A Tribute to Joni Mitchell

Tribute albums are always a slippery slope. If the covers are slavish copies of the original songs there is little point but, that said, if the covers are so different as to be unrecognizable hardcore fans of the artist being feted will likely be put off (and, as a matter of course, some hardcore fans are going to be put off no matter what.) Finding an entertaining and illuminating middle ground…coming at the music with a fresh but respectful vision…is something artists participating in tributes struggle to achieve.

This tribute problem is heightened when the honoree is a singular, distinctive talent like Joni Mitchell. A Tribute to Joni Mitchell…featuring an eclectic and interesting assemblage of pop artists…is all over the place when it comes to trying to surmount the aforementioned slope.

I have, as I have doubtlessly said before in this space, a strange fascination for tribute albums and combining that with my abiding respect and affection for Joni’s work it was a foregone fact that I was going to be all over this one. Add in the fact that some of my favorite artists…Emmylou Harris, Cassandra Wilson, Prince, Elvis Costello, Bjork, Sufjan Stevens…were involved was sweet icing on the cake.

Stevens kicks off the proceeding by turning “Free Man in Paris” into a horn-driven baroque fantasia that gets points just for sheer audacity. The fact that it works…capturing the spirit of Mitchell without aping her version of the song…is a cool bonus. Bjork follows with a spare, aching, vaguely other-worldly take on “Boho Dance” (from Joni’s underappreciated The Hissing of Summer Lawns, which is also the source of “Don’t Interrupt the Sorrow” presented here as a lovely piano instrumental by Brad Mehldau.)

Caetano Veloso offers a percussion-driven of “Dreamland” (originally from Don Juan’s Reckless Daughter) giving it an appealing carnival vibe in the process.

Cassandra Wilson’s husky, sultry, beguiling voice…supported in a superb way by understated guitar, acoustic bass, harmonica, and percussion…smoothly inhabits “For the Roses” and the ever-amazing Emmylou Harris takes a grand, heartfelt tour through the plaintive “The Magdalene Laundries” (from Turbulent Indigo.)

Prince’s abridged version of “A Case of You” has a certain earnest charm (he plays piano, guitar, bass, and organ on the track) while Sarah McLachlan’s voice eerily channels Mitchell’s on her ethereal take on “Blue”.

Annie Lennox’s “Ladies of the Canyon” has underpinnings of sitar, tabla, and santoor giving it a “world music” vibe…but those touches are overwhelmed by the keyboards. Lennox’s voice, of course, stands out over the din.

Recorded back in 1997, Elvis Costello’s version of “Edith and the Kingpin” (again from The Hissing of Summer Lawns)…featuring a horn section (flute, clarinet, trumpet, flugal horn, sax, two French horns) aided and abetted by bass, vibes, and drums…never really catches fire despite a nice vocal.

The disc closes with two covers that deviate only slightly from the originals: k.d. lang’s “Help Me” (lang’s vocal is, of course, lovely) and James Taylor’s “River” (from his Christmas album…it’s fine but not distinctive enough to merit repeated listenings.)

As these things go, A Tribute to Joni Mitchell, has more hits than misses and if it leads fans of the artists involved to go discover the original Joni tracks and albums then it’s all good by me.

A Tribute to Joni Mitchell

On April 24, Nonesuch Records will release A Tribute to Joni Mitchell, a collection of Joni Mitchell songs performed by an interesting and eclectic group of artists.

I am a fan of tribute albums…even while acknowledging some of them are kinda cheesy…and this one is especially appealing not only because it features Joni’s amazing songs but because it features some of my favorite artists: Emmylou Harris (covering “The Magdalene Laundries”), Cassandra Wilson (“For the Roses”), Prince (“A Case of You”), Bjork (“Boho Dance”), Elvis Costello (“Edith and the Kingpin”), Sufjan Stevens (“Free Man in Paris”), Annie Lennox (“Ladies of the Canyon”), K.D. Lang (“Help Me”), and James Taylor (“River”).

Brad Mehldau (“Don’t Interrupt the Sorrow”) and Caetano Veloso (“Dreamland”), two artists I’m less familiar with, round out the lineup.

Snippets of the songs featured…both the covers and Joni’s original versions…are up at the A Tribute to Joni Mitchell site along with appreciations of Mitchell by some of the artists involved.

Power of Soul: A Tribute to Jimi Hendrix

Over the years, two of the fastest growing sub-sections of my ever-burgeoning CD collection are pop Christmas albums and tribute discs. I am unabashed in my appreciation of both of these “genres” in all of their often ragged glory.

When it comes to tribute albums they are almost always a mixed bag filled with too many slavish, pale imitations of the original tunes. But sometimes a bit of magic happens and a tribute becomes just that. That is, tribute to (instead of a pointless copy of) the original artist’s work with an inspired and (hopefully) pleasing twist (my feeling about any cover is that if you’re not going to try to bring something new to the table why bother doing it all?)

Jimi Hendrix has been the subject of a fair number of tribute albums…in fact this disc is, in a roundabout way, a sequel to 1993’s sometimes-interesting Stone Free: A Tribute to Jimi Hendrix (the Hendrix family used the proceeds from that disc to establish a scholarship fund…this disc, compiled under the auspices of the family, will benefit the same fund.)

Hendrix was, of course, a spectacularly unique artist and so finding new colors in his songs will prove difficult. Musiq’s tepid cover of “Are You Experienced?” which opens this collection (following a brief shout out from Henrix’s dad Al) didn’t bode well for the rest of the disc.

But things pick up after that…and, this being a Hendrix tribute, they do so when the guitars soar and shine.

Santana’s version of “Spanish Castle Magic” is hampered by Corey Glover’s mannered vocals but still manages to soar thanks to Carlos Santana’s shimmering fretwork. Prince (aided and abetted by bassist Larry Graham) slips comfortably into blues shoes with “Purple House” (“Red House” renamed for no good reason that I can tell) while guitarist John McLaughlin brings a sweet intensity to Sting’s cover of “The Wind Cries Mary”.

Earth, Wind & Fire are in surprisingly strong form with a funky “Voodoo Child (Slight Return)”. A choral version of “Castles Made of Sand” by Sounds of Blackness is an interesting, if not completely successful, experiment. Bootsy Collins with George Clinton and the P-Funk All-Stars are surprisingly tame on the title tune as is Eric Clapton on “Burning of the Midnight Lamp” (Clapton’s fiery version of Stone Free’s title track was one of the highlights of that disc.)

Chaka Khan and Kid Rock’s guitarist Kenny Olson bring a soulful intensity to their take on “Little Wing” while Robert Randolph’s stellar slide guitar enlivens an otherwise unremarkable “Purple Haze” (which the Cure covered to more interesting effect on Stone Free.)

There’s some nimble playing on Eric Gales’ “May This Be Love” that almost, but not quite, overcomes his pedestrian vocals. Cee-Lo takes a game stab at “Foxey Lady” but it’s too much of a copy of the original to be really interesting.

Power of Soul saves two of its best shots for last: the late great John Lee Hooker preaching the blues with his version of “Red House” and the late great Stevie Ray Vaughan (with Double Trouble) blazing soulfully through a previously unreleased live 12-minute instrumental “Little Wing/Third Stone from the Sun” medley (recorded for the fabled “King Biscuit Flower Hour” back in 1983.)

Will Hendrix purists like this “tribute”? Probably not (maybe I’m wrong, not being one myself I’m not completely sure.) But I think it’s a truly heartfelt tribute collection just the same and worthy of some attention for that.

Hendrix’s versions of most of these tunes can be found on the 2-disc Voodoo Child: The Jimi Hendrix Collection that came out back in ’01. It's a fine introduction to his amazing work.

Songs Chosen by her Friends and Fellow Musicians

Starbucks' Hear Music...in conjunction with partner Rhino Records...has wonderful taste when it comes to putting together CDs. This new Joni Mitchell compilation continues that streak.

Joni has been recycling her music in different ways, of late. Compilations...Hits, Misses, The Beginning of Survival, Dreamland, The Complete Giffen Recordings...and orchestral reworkings...Travelogue.

This collection is a bit different in that it's not Joni...or her record company...choosing the songs for inclusion but rather, as the song states, friends and fellow musicians choosing their personal favorites of hers.

Most of the songs chosen originated on her classic albums from the 1970's. Blue, arguably the definitive Mitchell album of that period, offers up both the yearning "A Case of You" (selected by Prince) and its title song (a favorite of Graham Nash.)

Some of the selections are her more familiar tunes. Bob Dylan's choice is the freewheeling "Free Man in Paris" while Herbie Hancock selected "Both Sides Now" (presented here not in the original version but rather in a latter-day, more knowing version...from Travelogue...backed by an orchestra.)

Robbie Robertson makes two selections: the sprightly "Raised on Robbery" from Court and Spark and the stark and wryly elegant "Coyote" from Hejira.

The jazzy Hejira is also represented with the tracks the uptempo stroll of "Black Crow" (chosen by k.d. lang) and the lesser-known "A Strange Boy" (offered up by Seal.)

David Crosby champions "For Free" (from 1970's Ladies of the Canyon)and Elvis Costello chooses the bittersweet "For the Roses" (again in an orchestral version here from Travelogue.)

A couple of the choices are a bit more daring: Chaka Khan finds common ground with the most recent composition on this disc, the lush and wistful "Two Grey Rooms" from Joni's 1991 underrated gem Night Ride Home while Steely Dan's Walter Becker selects the spare, wondrous "God Must Be a Boogie Man" from 1979's challenging and remarkable Mingus set.

Becker's Steely Dan partner, Donald Fagen, rounds out this interesting tribute collection with his choice of the atmospheric "Cold Blue Steel and Sweet Fire".

No single disc compilation will ever do justice to the poetic majesty, musical daring, lilting, knowing voice, and lovely phrasing of Joni Mitchell, but this collection of songs chosen by her friends and admirers is a fine sampling well worth savoring.