Jazz Related Pop/Art Song/Folk

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The Jazz Related Pop/Art Song/Folk genre is for artists who perform pop jazz music, for instance; George Benson, Bob James, David Sanborn and Wes Montgomery. This genre also includes jazz influenced art song performers such as Tuomi and Robert Wyatt, as well as jazz influenced folk performers such as Paul Simon and Joni Mitchell.

jazz related pop/art song/folk top albums

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MILTON NASCIMENTO Clube da Esquina Album Cover Clube da Esquina
MILTON NASCIMENTO
4.81 | 4 ratings
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STEVE WINWOOD Roll With It Album Cover Roll With It
STEVE WINWOOD
4.62 | 7 ratings
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ROBERT WYATT Rock Bottom Album Cover Rock Bottom
ROBERT WYATT
4.44 | 23 ratings
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STING The Soul Cages Album Cover The Soul Cages
STING
4.35 | 9 ratings
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DONALD FAGEN The Nightfly Album Cover The Nightfly
DONALD FAGEN
4.25 | 10 ratings
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JONI MITCHELL Joni Mitchell (aka Song to a Seagull) Album Cover Joni Mitchell (aka Song to a Seagull)
JONI MITCHELL
4.48 | 3 ratings
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CHICAGO Chicago VII Album Cover Chicago VII
CHICAGO
4.14 | 7 ratings
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ROBERT WYATT Old Rottenhat Album Cover Old Rottenhat
ROBERT WYATT
4.12 | 4 ratings
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PAUL SIMON Graceland Album Cover Graceland
PAUL SIMON
4.17 | 3 ratings
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ANNE BISSON Blue Mind Album Cover Blue Mind
ANNE BISSON
4.25 | 2 ratings
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JOHN KLEMMER Touch Album Cover Touch
JOHN KLEMMER
4.25 | 2 ratings
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SPYRO GYRA Access All Areas Album Cover Access All Areas
SPYRO GYRA
4.25 | 2 ratings
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jazz related pop/art song/folk Music Reviews

JOE TEX Soul Country

Album · 1968 · Jazz Related Pop/Art Song/Folk
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Matt
It was primarily the Southern Soul artists who were not shy in mixing up the two genres together being Soul and Country music with Memphis sitting so close to Nashville it was bound to happen. Many of the Southern greats have taken Country Soul on with Ray Charles who actually started in a Country Swing band being the most famous with his “Modern Sounds In Country And Western” as well as the underappreciated album “The Country Side Of Esther Philips” not even making a dent in the charts in 1965 apart from her previous 1962 single of “Release Me” which made it number two, three years prior. Solomon Burke, Clarence Carter, Bobby Womack, Tina Turner, Percy Sledge, Dobie Gray, Johnny Adams were some of the artists not to mention a couple of white guys writing songs being Dan Penn and Jim Ford but apart from Ray Charles, a bit of Clarence Carter and Dobie Gray’s single “Drift Away” when it came to the Country/Soul crossover predominately under the radar was where they went. Still Joe Tex in 1968 loved his Country music and he gave it a shot with actually what was pretty much current in the Country charts at that time with his release of “Soul Country” making it to 154th in the charts but the cloud did have a silver lining for him with his self written inclusion on the album “I’ll Never Do You Wrong” making it to 59 on mainstream and 26th on the R&B charts. It is a shame actually because although not in the same top class as Ray’s and Esther’s albums this one it is pretty close being full of some wonderful interpretations from Joe singing the current Country songs from this period.

Joe Tex’s own Soul composition “I’ll Never do you Wrong’ with its slow to mid tempo time kicks the album off with some great vocals and backing in this wonderful tune. The Country comes right in with Joe’s fabulous take of Bobbie Gentry’s “Ode To Billy Joe” concerning that Tallahatchie Bridge. One of Dan Penn’s songs co written with Chips Morman brings more Soul back into the album with a beautiful take for the ballad “ The Dark End Of The Street” followed by quite a nice version of Willie Nelson’s,” Funny How Time Slips Away”. Roger Miller get’s the Joe treatment next in a delightful bounce in the song for Roger’s 1965 single “Engine Engine Number 9” and then for the Lp’s flip it is the Henson Cargill hit “Skip A Rope” that comes first. That old Death Row song “Green Green Grass Of Home” written by Curly Putman which Tom Jones had the massive hit with has Joe taking it on with some great effect followed by another Curly Putman composition in the slow burner concerning a possessive husband in “Set Me Free”. Still there are two more songs that were huge Country hits to follow with Jimmie Webb’s “By The Time I Get to Phoenix” which Glen Campbell made his own and cringe or not it is Bobbie Goldboro’s “Honey” which also made it to number 1 in America, Canada, Ireland and Australia that finishes the album up and of course Joe delivers pathos plus in this one and you may be reaching for the hanky.

Joe sings “Honey I miss you” but you know I also miss all these great songs that I grew up hearing with this album bringing them all back and Joe Tex showing why Country Soul should of been a lot bigger.This album is one of the best of them with the two prior that I mentioned above and if you like either genre of music,grab it.

MARC RIBOT Songs of Resistance 1942-2018

Album · 2018 · Jazz Related Pop/Art Song/Folk
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Matt
Marc Ribot’s latest offering “Songs Of Resistance 1942-2018” comprises quite a few well known guests covering some originals and old nuggets fitting the album’s title. Tom Waits, Steve Earle, Fay Victor, Meshell Ndegeocello, Sam Amidon , Justin Vivian Bond and an artist who does not want to be named due to possible ramifications concerning their residential status is mentioned as “Ohene Cornelius”. The album was recorded as a protest against the current U. S. Administration with eleven tracks included with Fay Victor being the biggest contributor after Marc Ribot of course as she appears on three with Steve Earle being an old political campaigner himself appearing in two.

The old Gospel number “We Are Soldiers In The Army” with Fay Victor on vocals gets things underway with some quite interesting saxophone accompaniment bringing a different touch to this old nugget but what the majority of listeners will be interested in is the following old Italian Anti Fascist song “Bella Ciao ( Goodbye Beautiful)” with Tom Waits providing his unique style delivered close to a lament with Marc Ribot’s guitar backing it all up as he has done on so many songs that they have recorded together. Steve Earle wrote “Srinvas” concerning an Indian immigrant’s murder as a direct result from racism with quite a pick up for the tunes ending. “How To Walk In Freedom” is where we get the folk singer Sam Amidon leading vocals with Fay Victor assisting with flute bringing texture to the song and “Rata De Dos Patas” is Latin based with a not to subtle English introduction for the persona Ohene Cornelius.The protest songs keep coming with two more from Marc Ribot, Fay Victor doing “John Brown”, another from Steve Earle and even the trans genre artist Justin Vivian Bond comes in to finish things up with “We’ll Never Turn Back” and perhaps even Woody Guthrie and Pete Seeger might approve.

Interesting listen and I have tried to keep out of the politics not being my own Country and just cover the music with what it is about and there are some great sounding songs and tunes included and I hope that they do resonate from this project for the artists. Tom Waits is a great addition for Marc Ribot within the album as he will increase sales with those fans of Tom’s that want them all, still I feel like many Political themed album’s they are doomed to a short lifespan.

WILLIE NELSON Last Man Standing

Album · 2018 · Jazz Related Pop/Art Song/Folk
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Matt
On Willie Nelson’s latest offering once again we have Buddy Cannon doing the Production for the tenth album with the addition of co writing every song with Willie and as with the previous album “God’s Problem Child” the band line up is pretty much the same just with a few less guests in “Last Man Standing” as there is only the one actually being Alison Krauss on fiddle and backing vocals who does not even get a mention as a guest just added to the band's line up in the album’s credits. One of the integral parts to Willie’s band these days is long time collaborator Mickey Raphael on harmonica who has been accompanying Willie for nigh on thirty years and almost nearly as integral to Willie’s sound as Trigger but not quite. Honky Tonk, Western Swing with a couple of ballads thrown in for good measure are the album’s basis making this one a straight up Country album being Willie Nelson’s bread and butter and there really is no greater exponent of this music style living today.

The album kicks off with “Last Man Standing” with a mention concerning Waylon Jennings, Ray Price, Merle Haggard and Norro Wilson and how Willie is lamenting he is the last of them on the title number. Honky Tonk based ‘Don’t Tell Noah” comes next followed by “Bad Breath” concerning his mortality with the line “Bad breath is better than no breath at all” with a great little solo from Mickey Raphael’s harmonica followed by Willie on Trigger. “Me And You” is Honky Tonk which motors along with a great beat behind it with quiet a nice ballad following “Something You Get Through” with the harmonica of Mickey Raphael’s coming to the fore and some great steel guitar added as well. Western swing get’s a shot with the fairly quick time of ‘Ready To Roar” and the next number “Heaven Is Closed” has Willie mentioning that “hell is overcrowded so I think I will stay where I am” . “ I Ain’t Got Nothin” follows with more of that Honky Tonk feel in “She Made my Day” and the other ballad comes next “I’ll Try To Do Better Next Time” with the album closing up with a slight Bluesy influence in “Very Far To Crawl”,

Great album of all original material. I have heard people mentioning it’s brevity as it only runs for thirty four minutes but for me not a factor being brought up in the day of records which is not far of many album times anyway. Still not a lot has changed since his previous “God’s Problem Child” which in my opinion has just a slight edge over this one.

WILLIE NELSON You Don't Know Me: The Songs Of Cindy Walker

Album · 2006 · Jazz Related Pop/Art Song/Folk
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Matt
Nine days after the release of Willie’s “You Don’t Know Me: The Songs of Cindy Walker” in 2006 Cindy Walker passed away aged 87. She was one of Country music greatest song writers whose career spanned six decades with some of her greatest songs recorded by Bob Wills, Jim Reeves, Webb Pierce, Ray Charles, Bing Crosby, Roy Orbison with quite a few more that could be added. Her songs were honest, frank, direct with a touch of double meaning at times and most important of all, they were truly original. Of all the recent albums released by Willie Nelson since 2000 this one is still his finest effort. Perhaps it is the familiarity of the tunes for him as he has played and known many of them since his early teenage days long before “Crazy” in the late 1940’s and many of his own heroes in Country music played them in their repertoire as well and with all this familiarity “Willie took to it, like a duck to water”.

Western Swing is one of the main components of the album’s construction and why not start with one of her co written Bob Wills songs “Bubbles In My Beer” and of course it’s a fiddle that gets things underway for this shuffle being primarily guitar backed with Willie vocals right out front but the next song that follows almost steals all the limelight being the beautiful double meaning ballad “Not That I Care”. “Take Me In Your Arms and Hold Me” is another ballad originally recorded by Eddy Arnold followed by more Western Swing with “Don’t Be Ashamed Of Your Age” and next was another massive one for her being the ballad “You Don’t Know Me” where even Elvis and Ray Charles had a crack at but it was Jerry Vale who pulled in the hit. The co-written Bob Wills songs, “Sugar Moon” and “Cherokee Maiden” give more of that Western Swing with “Miss Molly” added and that fiddle accompanied with Honky Tonk piano keeps them motoring along. “I Don’t Care”, “The Warm Red Wine” are more of Cindy’s classics with the beautiful Western themed “Dusty Skies” with one exquisite Harmonica solo inserted by Charlie McCoy perhaps being with “Not That I Care” one of the albums best tracks. More Swing with “It’s All Your Fault” follows with one more gem to finish proceedings up being the lovely ballad “I Was Just Walking Out The Door”.

Cindy Walker had sent Willie Nelson a song she had wrote specifically for him just prior to this album but never recorded and instead he decided to take on many of her Classics . Hopefully she managed to hear it prior to her death as she had been ill for a while by then and maybe for her it was a WC Handy moment as well, just as when he first heard Louis Armstrong”s Plays WC Handy and a tear came to her eye also, for the great renditions that Willie recorded in tribute.

CHARLES LLOYD Charles Lloyd & The Marvels + Lucinda Williams : Vanished Gardens

Album · 2018 · Jazz Related Pop/Art Song/Folk
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Matt
Lucinda Williams first ran into Charles Lloyd who himself was already was a fan from her “Car Wheel On a Gravel Road” days after attending one his concerts where they met back stage afterwards which planted the seed for this current project and latest release. Charles stated during an interview co- shared with Lucinda concerning the making of “Vanished Gardens” that “You can’t go in there with fixed ideas” and that perception he keeps throughout the production for the amalgamation of Jazz and Americana bringing something fresh and original for all of us with tired ears who often ponder these days even with a new artist who we have not heard prior, that when their music commences we think, “I’ve heard it before” but at least concerning this album that is difficult to claim. Five of the ten tracks comprising the album are instrumentals with three written by Charles with one other being the standard “Ballad Of The Sad Young Men” and the other being “Monks Dream” . Lucinda’s input is also five tracks taken from various albums from her past productions with the addition of the Jimi Hendrix tune “Angel”.

The album kicks off with the instrumental “Defiant” with Charles opening on tenor saxophone with a down tempo approach which turns to a rolling along number with Bill Frisell’s guitar coming in for the second solo followed by Greg Leisz on pedal steel and finishing up with Charles back again with his beautiful deep tone on tenor . This one has actually been released as a single. Lucinda William s comes in for the following number being “Dust” where the original tune is kept and easily recognisable which is maintained throughout the entire album for all her compositions included within but the difference lays with the backing Quintets input with the loops of Lloyds’s sax and the stretching out of the numbers. Bill Frisell with Greg Leisz open the title number “Vanished Gardens” with a slow build up till Charles appears getting stronger by the second. Another Williams number follows being her classic “Ventura” and once again keeping to its original construction but placed in a Jazz mode. The tracks alternate throughout the album’s duration with an instrumental followed by a Williams vocal song. Charles actually does a little singing in the background during “Unsuffer Me” being one of my favourites from the session but I may add that it is one of my picks from Lucinda’s back catalogue taken from her stunning album “West”. Charles also does do a flute lead for the lovely “Blues For Langston and LaRue” bringing a little more variety to it all.

Does it work?, sure does, I think more to the addition of guitar and pedal steel from Frisell and Leisz which brings a junction point for Charles Lloyd and Lucinda Williams being two Southern artists to combine for quite an interesting listen and yes, something different from two of today’s top musicians. Special mention for Reuben Rogers (bass) and Eric Harland on drums.

jazz related pop/art song/folk movie reviews

STING Bring On The Night

Movie · 2005 · Jazz Related Pop/Art Song/Folk
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Slartibartfast
The concept here is a documentary of a band forming, The Blue Turtles Band, rather than a band at their peak or breaking up. Fortunately it is heavier on the music than the documentary.

The first half takes place in a French countryside chateaux and consists of presentable songs from nine days of practice sessions for what was to be their first show. Everyone in the band seems to be having a good time. The chateaux provides nice a nice backdrop to the sessions. The second half is the show itself.

Since this was Sting's first post Police effort, there's a lot of reworked Police songs mixed in with tracks from the first album. It's sort of like the Police meets jazz with Andy Summers ejected so Sting could play guitar. The band line up is primarily younger jazz musicians that already had a good reputation for work they had done before hooking up with Sting.

There are interview excerpts between the songs. One of the more interesting ones was Miles Copeland, Sting's manager and Stewart's brother going on about negotiations with the rest of the band. He was extremely dismissive of the band in relation to Sting when it came to monetary compensation. I suspect that was more about himself getting a bigger piece of the pie than a reflection on Sting, although I do recall him guest appearing on a Saturday Night Live show with Steve Marting and Steve introducing him as Stin-gy.

I originally saw this one in a theater and was really pleased to see it released being reworked with "high definition digital anamorphic picture transfer and digitally remastered surround audio." It actually does look a little sharper than I recall and I think the orginal sound was just stereo.

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