The pairing of a multi-instrumentalist and jazz scholar Colin Hancock with multi-Grammy-nominated vocalist Catherine Russell is a match made in heaven.
Russell is fresh off her 2024 collaboration with Sean Mason, and has consistently proven her versatility as a jazz vocalist. Hancock is an able producer, writer and arranger; he 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 paring these talented musicians; it is also an education in the black jazz traditions. Russell and Hancock pulled a fantastic collection of tunes that represent a rich musical legacy dating back to the 1920s.
Hancock produced the album, working with the talented Paul Kahn, while pulling double duty on both cornet and saxophone. The Hounds also include drummer Ahmad Johnson, tubist Kerry Lewis, trombonist Dion Tucker, reedist Evan Christopher, and pianist Jon Thomas.
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 were recorded live in the studio with the band and they remain as 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.” This song from the 1930s is in good hands as the pair preach through the evocative lyrics, while Hancock’s cornet coyly works its magic. It’s the definition of great fun, evoking a vision of a old-time 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 12 dynamic blues/jazz songs on Cat and the Hounds. Popularized by Ethel Waters during her tenure with Alex Jackson’s band, this update features an equally dynamic cornet solo by band leader Hancock and timeless banjo work from Jerron Paxton. Russell’s vocals 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 and blues of the past while showcasing tasteful arrangements, stellar playing and first-class vocals. Colin Hancock and Catherine Russell take a loving look back while also creating something new. The results deserve a broad audience and begs for repeated listening.
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