September CD Reviews
By Staff Music WritersBallzack
Yeah Indeed!
Independent
West Bank native Ballzack represents what’s missing in the modern rap scene: a progressive blend of self-deprecation, absurdism, crude synth backbeats, New Orleans bounce, and lyrics about Jean-Michel Basquiat. On his latest release, Yeah Indeed!, he keeps the laughs coming by declaring he’s “got an outie belly-button that looks like a penis,” and brilliantly name-dropping local cult television hero, Morgus the Magnificent (“Wine Candy”). Unfortunately, constant banter with his Yeah Indeed! collaborator/co-vocalist Odoms may cause some listeners to feel like they’re listening to a conversation they’re not a part of. It is also during those moments that he also draws an unlikely parallel to another local rapper, Lil Wayne, because both musicians could desperately use the implementation of a good editor. Thankfully, Yeah Indeed! hits many high notes (“Yeah Indeed” and “A Rainbow In Marrero”), making it easy to forgive the its lower notes, like the sloppy attempt at a progressive rap song (“Dickie Fuqerson”) and a ridiculously long outro (“Spring Break ‘99”). –Dominique Minor
Theresa Andersson
Hummingbird Go!
Basin Street Records
No matter what genre attracts you most, Theresa Andersson is a familiar name to all. Her previous albums are our reference to a talented pop artist with a pretty voice. Her new album, Hummingbird Go!, is a record of a musician who has reached the beginning of her prime. She recorded the tracks in her kitchen, a DIY approach which gives her more artistic freedom. Using soda pop bottles for percussion on “The Waltz” and a tuned-down classical guitar filling in for bass on the album are further examples of a more natural and unconventional mindset during the writing process. There is an interesting ensemble of artists on the album, like poet Jessica Faust contributing lyrics and producer Tobias Froberg, who has worked with Peter Morn of Peter Bjorn and John. The recording was mixed in Gotland, Sweden (Andersson and Froberg’s hometown) by Linus Larsson, who has worked with Peter Bjorn and John, as well as Mercury Rev from New York. The first track “Na Na Na” is reminiscent of the vocal tones of a mature Cyndi Lauper and the thin yet layered melodies of Stereolab. Track 2, “Clusters,” is a truly artistic miniature, where she uses Jessica Faust’s poem over her ambient creation of sonic escape. The rest of the record follows suit. One track Hummingbird Go! could do without is track 10, “God’s Highway” - Froberg’s contribution, and a song that sounds like an overly effeminate boy who’s been surrounded by religious freaks his whole life. But overall, Andersson’s new album is a true sonic accomplishment and deserves an enthusiastic ear! –Brian Serpas
Ernie K-Doe
Here Come the Girls
The Great American Music Company
It was 1970 and many early rock and roll stars who had been knocked off the charts by the British Invasion were enjoying comebacks with new material and styles. Ernie K-Doe, who had a monster hit with “Mother in Law” nine years earlier, went to his old friend and producer Allen Toussaint and asked if he could compose some new songs for him. Toussaint, who penned “Mother in Law” and most of K-Doe’s other records, obliged with eight new cuts for a vinyl LP on the Janus label simply titled “Ernie K-Doe.” The album went nowhere and K-Doe went downhill until his career was resurrected in the 1990s with the help of his devoted wife, Miss Antoinette. The “cocky but good” self-styled “Emperor of the Universe” died in July 2001 but, thanks to a British drugstore commercial, he is enjoying a third life. The song used in the commercial, “Here Come the Girls,” was another Toussaint composition on K-Doe’s long forgotten 1970 album. Now the album has been reissued on CD with three bonus tracks, including a fast, alternate studio version of “Mother in Law” that is cut off during the musical break (probably at the point in the session where they decided it would sound better slowed down). The title track is a catchy, rollicking, good-time number that well deserves the recognition it’s now getting. The other cuts are a mix of late '60s funk and slow, soulful numbers that allowed the versatile K-Doe to flex his gospel-honed vocal muscle, including a classy remake of “Kiss Tomorrow Goodbye” and “Talkin’ ‘Bout This Woman,” the closing track of the original album. With Toussaint’s backing piano and a group believed to be The Meters, K-Doe is back in town! –Dean M. Shapiro
Astral Project
Blue Streak
Astral Project Records
Dagradi, Masakowski, Singleton, and Vidacovich are names that collectively and individually are so synonymous with the local jazz scene that their likenesses could comprise a Big Easy Mount Rushmore of the genre. On their 30th anniversary, Astral Project has released Blue Streak, a testament to the durability and ever-escalating artistry of New Orleans’ flagship contemporary jazz group. As the title suggests, the 11-song collection evokes the influences of the blues as a sub-genre of jazz – sometimes directly through musical form and structure, sometimes through elements of melodic and harmonic content; and at times by simply translating emotion and mood through instrumental mastery. The lion’s share of material for the disc comes from a 7-song suite of material composed by Dagradi. “Cobalt Dreams,” the tune for which the suite is named, is an exquisite bluesy minor key excursion that evokes scenes of smoke-filled clubs of yesteryear. Masakowski’s “Once Was” is a funeral dirge for the city that will be forever changed, and Singleton’s “Dike Finger” further highlights the occasional Katrina undertones of the collection.Three decades of exploration, refinement, cohesiveness, and passion for their craft come together in this collection that introduces blues elements while staying true to the group’s contemporary roots. –Craig M. Cortello
Riccardo Crespo
Milonga of New Orleans
(Independent)
Riccardo Crespo has been filling the air of New Orleans with melodic, romantic songs for the past decade, since his arrival from the Pampas of southern Brazil. Playing acoustic guitar and harmonica and singing in his native Portuguese, Crespo has chosen, for his first CD since 2000, nine tracks written either by him or in collaboration with his Uncle Renato “Nano” Crespo. And, for backup, he couldn’t have made better choices than percussionist Michael Skinkus, bassist Nathan Lambertson, electric guitarist Bill Solley, and several other fellow Brazilians. These are not the sambas and bossa novas we’re more familiar with, but songs that reflect an old indigenous culture. The song titles are all in Portuguese and some translate into “Four Hundred Turkeys” (“400 Perus), “Summer Rain” (“Chuva de Verão”) and the title track, which can either refer to “sad music” or a dance from Crespo’s homeland. But don’t waste time trying to understand or translate the lyrics: just appreciate them for what they are and enjoy listening to the songs. For the most part, they’re romantic ballads and introspective perspectives. Crespo has a strong, at times lilting voice and a playing style that’s a cross between the great flamenco guitarists of Spain and the serenaders of Mexico. With few Brazilians in New Orleans and even fewer Brazilian musicians, Crespo practically has the entire genre to himself and he represents it well. –Dean M. Shapiro
Phil Phillips
Sea of Love
Bear Family Records
In 1959, Phil Phillips (a.k.a Phillip Baptiste) of Lake Charles, Louisiana exploded onto the national R&R scene with a catchy, melodic ballad that he wrote and titled Sea of Love. Originally recorded in Eddie Shuler’s tiny Goldband Records studio, the 45 RPM was released by recording industry giant Mercury Records of Chicago. Backed by members of Cookie and the Cupcakes and three vocalists known as The Twilights, Sea of Love was a huge nationwide hit, with Phillips on lead vocals and guitar. Sadly, it was his only hit; nothing he recorded thereafter even cracked the Billboard Top 100. Nearly half a century after hitting the big time, this is Phillips’ first album release, and it took a company from Germany to do it. The CD includes 26 short songs, some of which never made it to market. The masters were recorded at Goldband and at studios in New York and Nashville in 1959 and 1960. The CD includes a 35-page bio telling you everything you ever wanted to know about Phil Phillips, including past and recent photos and a full discography. Several of the cuts were recorded this year, and Phillips’ voice remains strong as ever. The title track is, of course, the best, but he gives excellent interpretations of such classics as “Stormy Weather,” “Unchained Melody,” “What Will I Tell My Heart” and others. Hopefully, this time around, Phillips will finally get the long-overdue recognition he deserves.
–Dean M. Shapiro