Allman Betts Band, Randy Goodrum and Ian Dury are part of the latest edition of Five for the Road, an occasional look at music that’s been in my car lately …
RANDY GOODRUM – RED EYE (POP/ROCK): Randy Goodrum is a name that frequents many of my favorite albums. His work with Jay Graydon, Bruce Gaitch, and Steve Lukather rank up there with the best in pop music over the last 20 years. Then there are collaborations with El DeBarge and Steve Perry that have made Goodrum a legend among legends. Red Eye marks a delightful return to solo work. On the album, Randy Goodrum handles lead vocals and shares keyboard duties with co-producer Larry Williams. Williams and Goodrum also utilize a who’s-who of A-listers such as Michael Landau, Marcus Miller, Gavin Harrison and Vinnie Colaiuta. The musicianship combines with songs written by Goodrum with occasional collaborations with Williams and Douglas Carr, creating an album that is nothing short of first rate. The title song and the earnestly lovely “Not Here” are but two examples of why Randy Goodrum is such a revered craftsman.
IAN DURY – HIT ME!: THE BEST OF IAN DURY (ROCK): Ian Dury left us in 2000 at the age of 57, and his impact on pop music has, in some quarters, since gone overlooked. The October release by BMG music of Hit Me!: The Best of Ian Dury serves as a timely reminder. The three-CD, 50-song set set (or 20-track gatefold white vinyl LP) features the expected “Sex Drugs & Rock & Roll,” liner notes from the Blockhead’s Phil Jupitis, and some of his original 12-inch mixes – including “Reasons To Be Cheerful Pt. 3,” “Blockheads” and “There Ain’t Half Been Some Clever Bastards.”
MARK WADE – SONGS FROM ISOLATION (JAZZ): Composer, band leader and three-time Downbeat magazine poll finalist Mark Waden follows up his 2018 album of note, Moving Day, with the solo release Songs From Isolation. Forgoing the trio format, Wade includes five selections performed solely by him on electric or triple bass. A New York City resident, Wade put isolation in his residence to good use. What resulted was a fascinating blend of compositions which are as impressive as they are inspiring. “Hours Till Dawn” immediately draws you in with its percussive double-bass foundation and equally evocative solos. Wade employs multi-tracking to provide a fully realized rhythmic foundation. “Blues in Isolation” creates an almost outer-worldly atmosphere with its stark yet warm feel. Wade’s decision to use only the double bass on this song seems risky, yet again the music is fully fleshed out and swings, even before the bowed main theme enters. The visual presentation is equally stunning. The final song, “Nothing Like You,” featuring vocalist Teri Leggio Wade, is a joyous and slightly off-kilter take on a Gil Evans arrangement. The combination of Mark Wade’s acoustic bass and Teri Leggio Wade’s vocal brings this album to a fascinating and satisfying end.
THE ALLMAN BETTS BAND – BLESS YOUR HEART (ROCK MUSIC): “Pale Horse Rider,” the lead-off song and single from Bless Your Heart, is a rousing introduction to the album. Led by Devon Allman and Duane Betts, the Allman Betts Band continues the swagger and power displayed in their debut, 2019’s Down to the River. Relying on original material, these 13 songs show a vitality that you’d expect from musicians with such a notable pedigree – yet there is an unmistakable band feel. Check out “The Doctor’s Daughter,” where bassist Berry Duane Oakley provides the powerful lead vocal. Bless Your Heart covers familiar territory, but it’s hard to find music these days with this much true grit.
CHRIS GREENE – misSPACEd (JAZZ): Available now via his exclusive VIP membership club, this EP features three tracks recorded the same night as Greene’s PlaySPACE album. Unfortunately, the PlaySPACE album was edited due to time constraints; however, members to Greene’s newly formed club get to hear the remaining songs from the band’s fantastic set at Evanston, Illinois’ SPACE. Pianist Damian Espinosa leads the charge with Jeff Lorber’s “Chinese Medicinal Herbs,” but the rhythm section swings into full-throttled action playing with the samba beat. Chris Greene’s soprano sax is the sweetness on top of the rhythmic appetizer. A cover of “King of Pain” provides 12 minutes of glorious interplay between the quartet members. Greene employs his soprano as the primary melodic tool for the song. Drummer Steve Corley and bassist Marc Paine display their almost telepathic connection, as they employ an enchanting rhythmic interplay. This three-song set is a compelling reason to become a Chris Greene VIP, not only to enjoy their fine catalog but also for exclusive gems like this.
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