| | Denise LaSalle Trapped CD Denise LaSalle Discography of CDs
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Trapped Review
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| | Legends Of New Orleans: Fats Domino Live! CD (2003)
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Recorded live at the New Orleans Jazz & Heritage Festival, New Orleans, Louisiana, 2001. Includes liner notes by Bill Dahl.
Fats Domino was 73 years old when he headlined the New Orleans Jazz & Heritage Festival in 2001, a concert that is captured on the 2003 Shout! release Legends of New Orleans: Fats Domino Live! Listening to the album, that fact becomes all the more remarkable, because it hardly sounds like the work of a man in his seventies -- it is robust, lively, and giddy, sounding for all the world like the work of a man in his prime. The only audible drawback is the occasional shortness of breath -- he's not able to finish the last phrase on several songs, most notably on "I'm in Love Again," where each verse ends a cappella. But this is a very minor drawback given that Fats plays these songs at the same tempo and with the same gusto as he did in the '50s. Sure, it helps that he has a crackerjack support band that knows that the key to Fats Domino's music is that it rolls easy but is still earthy, yet the performance wouldn't work if he himself didn't sound engaged and as warm and friendly as he did at his peak. As soon as he starts singing on "I'm Walkin'," it's shocking to hear how little his voice has diminished over the years. It starts the album out on a high note and it never loses momentum. By the time "The Fat Man" arrives toward the end of the set, Fats is still playing with vigor, and his piano sounds as alive as his voice. Really, the worst thing about the record is the audible clipping of stage patter and downtime between songs, with each cut ramming into the next, but that's a minor problem, since the quality of the ...
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| | Patrick Langham Grown Up Listening CD (2008)
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From the opening notes of “Southern Accent,” the solo improvisation that kicks off Patrick Langham’s debut album, Grown Up Listening, it’s clear that a distinctive new voice has surfaced on the jazz scene. “Not enough sax players record solo selections today, so I thought that it would help the album stand out a bit to begin and end it with solo performances.” He chose the standard “That’s All,” to conclude the 11-song set. Langham has spent much of his life studying and teaching jazz both in the US and abroad. It’s only recently that he’s put together a regular group and begun performing frequently in Northern California. Growing up in Tennessee, he found himself increasingly drawn to his musical roots, which include a number of Southern jazz notables. “Looking back, I realized that many of the artists that had the deepest influence on who I am as a musician came like I did, from the South. The work of Dizzy Gillespie, Donald Brown, Phineas Newborn and Les McCann played a key role in my development as an artist.” To honor these masters, Langham decided to feature some of their compositions, as well as a few of his own on the album. “I was lucky enough to be exposed to these artists in high school by band directors who nurtured my interest in jazz,” Langham continued. “As I progressed, they would feed more more challenging songs and I was hooked. Once you get into an artist, it’s almost like an addiction, you want to learn and play more and more of their tunes.” Grown Up Listening features a cohesiveness throughout that was intentional from the outset. “I wanted the album to be accessible to listeners who may have only had a little exposure to jazz, so for the most part, I chose tunes that had a singable melody,” stated Langham. “The one exception is ‘Be Bop’ by Dizzy Gillespie, as I really wanted one tune that was more for my students and other musicians.”The core group featured on the album is the line up that joins Langham for many of his live dates around Northern California. Pianist Joe Gilman also leads his own ensemble, while bassist Chris Amberger and drummer Brian Kendrick are fixtures on the regional jazz scene. With Langham, they form the nucleus of Langham’s ensemble, which was then augmented by a rich group of guest artists including saxophonist Frank Morgan, Essiet Essiet on bass, Marvin Stamm on trumpet, and one of Langham’s students, Brian Chahley also playing trumpet. “I’ve been fortunate to be invited to be a part of the faculty at the annual Brubeck Institute Summer Jazz Colony, and got to know Essiet and Marvin from previous Summer Colonies. One of my students, Brian Chahley, is a fine player in his own right, and I felt he could add to the project, so I also asked him to play with us. I hadn’t planned in inviting Frank Morgan to play, as we hadn’t met before, but as he and I were coaching the students attending the Colony, we hit it off beautifully,” continued Langham. “He was like a grandfather figure to the students, dispensing so much wisdom, not only about music, but about life, that it was completely natural to ask him to play on the date.” The original tune, “Life Talking with Frank,” composed by Langham was the result. The album itself was recorded live at a local auditorium over three days. “We brought in a mobile ...
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