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Page 4 January 2021
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CD Review - 'Re-Birthing the Cool'
Recording features well-tempered craftspeople
By Kane Taylor
D AV I D WAT S O N ' S
BEBOP N
BEYOND
LUDLOW
THE AFFAIR
Re-Birthing the Cool: Bebop N Beyond ; David Watsons new/old CD is subtitled The Ludlow Afffair . This band essentially started up in 2013, according to liner notes. These are definitely not new musicians but rather well-tempered craftspeople. Most of the compositions are recent except for Early Autumn (Woody Herman/Ralph Burns, 1949), Blues for Pablo (Gil Evans, 1956) and Love Me Or Leave Me (Walter Donaldson/ Gus Kahn, 1928). This is David Watson, whose vocal delivery safely escapes any of the early gut-bucket, blues shouter styles with his personal injection of hipt and multi-sax- ophonist Pete Peterson. They are joined by vocalist Alyssa Schwary McDonald on certain tunes. Known around town as The Cool, this band and this recording, includes Peterson on bari sax and bass clarinet, Lee Wuthenow on tenor sax, Mary- Sue Tobin with her signature well-saturated alto and soprano sax sound, Paul Mazzio on trum-
pet, Stan Bock on trombone, Mark Veherencamp on tuba (yes! Evidenced on Bouncing Baby Funk , its all there), David Kim on piano, Ed Bennett on bass and Ed Pierce on drums. Also on this recording are Bryan Dickerson, alto sax, Justin Copeland on trumpet, Perry Thoorsel on bass and Rivkah Ross on drumset. Please remember that this is the age of electricity and early jazz bands used tuba for the bass line. Its almost hard to be sure if its a tuba or baritone trombone where mentioned, but its actual- ly a non-oompa live tuba. Dont make the mistake of thinking its all a bunch of old guys. It's not. If you're expecting that sweet well-blended but pre- dictable and inofensive sound of the existant and post WWII era Big Band dinner-dance groups, this is the kids. Not the hotshot third or fourth generation brats who are often bored easily; this is enjoyable listening for the exper- tise involved, alone, even if youre not a jazz fan. McDonald delivers a relatively modern sound on cut number three, Another Chance , with a bright jazz feel that many will find familiar, but her perfor- mance on Love Me Or Leave Me gives evidence of her study and attention to style of the era, with no apologies. She sounds com- fortable with these styles and so also sounds authentic.
Rather than dissect each tune for your listening and reading pleasure, this writer will simply say that the variety presented here is all jazz, but reflects the compositions and thus the personalities of the musicians in each.
Blues For Pablo is some- what more in the style of that famous song Ruby My Dear, but of course it is not that tune, it is its own (1956, Jazz Line Publication). If you are unfamil- iar with Woody Herman or Gil Evans, this CD purchase would be a good way to get the flavor of those times.
The song Alamode (#10; Curtis Fuller, Clarama Music, BMI) is as ice-creamy as they come and that feel includes ice cream that is melty but consis- tent to the last bite.
Watsons vocal delivery on Fat Cat (1989, Music in the Vines) is delightful. This writer, raised on post -WWII era Modern Jazz, is a blues person from the beginning (how does that work???) and will be adding this CD to her Phone Music Collection for use with various Bluetooth devices, both while driving and not.
You-all should do this too, but the first listen might be best if you turn down the lights, put your feet up, let your hair hang over the back of your easy chair, sip a high-class beverage and just let the sound have you. From the liner notes: This is The Cools debut recording and we really hope you enjoy this music as much as we enjoyed recording for you. You dig?
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