CD REVIEW: KENNY RANKIN – THE ARTISTRY OF KENNY RANKIN (promo only sampler)

SLY DOG/MACK AVENUE RECORDS



The review below is from the promo sampler compiled from 6 full-length CD reissues of classic albums from the late vocalist/guitarist Kenny Rankin. The original albums recently remastered and re-issued by Sly Dog in association with Mack Avenue Records are the records that brought Kenny Rankin to the public’s attention: Mind-Dusters (’67); Family (’70); Like A Seed (’72); Inside (’75); Silver Morning (’75); The Kenny Rankin Album (’76); After The Roses (’80).




Guitarist/vocalist/composer Kenny Rankin, who passed away in 2009 at 69, had a unique sound and captured a delicate moment in time when delicacy, and tasteful lyrical phrasing in vocal and instrumental approach was not the rarity it is today but pervasive on the music charts in these pre-punk days. Fellow songsmiths such as James Taylor, Carole King, Jackson Browne, Neil Young, Crosby, Stills & Nash, Joni Mitchell, JD Souther, and Jesse Colin Young were among the frontline artists where melody, beauty and heartfelt emotion were the lynchpins of their appeal. Taking their melodic turns from ‘60s folk scene, Tin Pan Alley and The Beatles eccentric open-minded lyrical and melodic examples, Rankin added the Brazilian and jazz textures that he heard growing up in the Washington Heights section of New York City.



On the flip side of the popular music equation in those days were the prog/rock bands like Yes, King Crimson, and early Genesis and their approximators, who trod a more aggro path based on instrumental prowess and a more surreal, fantasy-based lyrical stance. For Rankin, his take was decidedly jazzy, mixing the nylon string guitar, bossa-nova vibe and harmonic sophistication with the simplicity of folk stylings and lushness of much of the pop of the previous generation. He added an emotional directness in his dedication to the lyric of every song he sang.



His graceful and softly gentle high-pitched vocal sound floated sweetly over his own harmonically rich chord choices on original tunes “Lost Up In Loving You”, “Haven’t We Met” and “Silver Morning” as well as on his frequent interpretations of outside compositions. His scatting or soloing melodic wordless passages in some of these tunes reminds me of other sophisticated and daring popular vocalists of the day such as Flora Purim and Minnie Ripperton as well as jazzing up his skillful interpretations of Beatles tunes such as “While My Guitar Gently Weeps” and “Blackbird”. I spent a month learning the arrangement of the latter while in college to stand out from the rest of the folks in our apartment building who were struggling through tackling the original McCartney arrangement.




Another great example here is his acoustic swinging rendition of “Up From The Skies” taking Jimi Hendrix’s simple basic chord line and charging it up with a whole different vibe from the original while still keeping Hendrix’s jazzy blues feel and psychedelic world view in tact. Hendrix’s influence is also heard in the wah-wah groove of Kenny’s “Comin’ Down” from LIKE A SEED. This tune, drenched with horns, churning guitar and funky keys under Rankin’s echo-laden vocal hook, is at once his druggiest as well as most rock n roll arrangement found here.



More to the center of the Rankin milieu is the tune which follows, also from LIKE A SEED, “Stringman”. Listen to this and slow down the speed ever so slightly and you can hear what could be an outtake from a mid-70s, Peter Asher produced James Taylor album. Easy groove, Fender Rhodes sound, sleek melody and catchy hook. Jesse Colin Young has a very similar vocal sound, high and resonant but Kenny was a jazzer at heart and Jesse and James were essentially from the folk/rock school.



Of the six original albums in the series, it would be hard pressed to pick a quintessential Rankin album. Many folks might suggest LIKE A SEED in that his signature tune, “Peaceful” which was a huge hit at the time for Helen Reddy, as the follow-up single to “I Am Woman” appears here most effectively (an earlier version is also on MIND-DUSTERS). The diversity of 1972’s LIKE A SEED continued and refined the blueprint for most of Kenny’s albums that were to follow: stylish, impeccable jazzy original tunes interspersed with unique, emotional and heartfelt takes on classic rock, pop and standard hits.



I was also a huge fan of the INSIDE and SILVER MORNING albums when they came out. Remember jazz fusion was HUGE but the stirrings of what would be watered down in the subsequent two decades and dubbed "Smooth Jazz" was swimming against the fusion current just as the 70s singer songwriters were the flip side of the prog/rock bands. Kenny’s records were really blueprints for the coming sounds of smoother inflected pop/jazz vocalists such as Michael Franks and even George Benson. While Benson came from the post-bop instrumental side and Kenny more from the classic pop singer mold their approaches influenced the genre for years. Recall though that when these albums came out there was less divisive distinction between “genres” of what was popular at the time. No AAA, SMOOTH JAZZ, CLASSIC ROCK formats…sure there were “Oldies” stations late at night playing mostly doo-wop, and Classical music was in a world of it’s own as it has always been but this was the age of free-form FM radio where in a hour you could hear Kenny Rankin, Yes, B.B. King, James Brown, Doc Watson and John Coltrane. Sounds like my Pandora playlist today.



Sure, a few of the string arrangements here are a tad heavy-handed for my taste but, hey, at least they are real strings and harken back to some of Kenny’s pop vocal predecessors. In fact, arranger/conductor Don Costa (who worked on THE KENNY RANKIN ALBUM and AFTER THE ROSES) listed classic records by Sinatra, Streisand, Sarah Vaughan, Steve & Eydie, Lloyd Price, and Paul Anka in his resume. As recently at 1980, Don had a hit record with his daughter Nikka Costa. My least favorite of the albums here was probably AFTER THE ROSES, only because the heaviness of the echo on the tracks distracts from the beauty of Kenny’s voice and muddies the intricacies of the arrangements some for my taste. Otherwise, I really have enjoyed listening to Kenny Rankin’s beautiful sound again after so many years away.



For me, a couple of favorites NOT included on this compilation include Kenny’s sultry versions of Stevie Wonder’s “Creepin’” that leads off the INSIDE album as well as the Stephen Bishop’s hit “On And On” from THE KENNY RANKIN ALBUM. This album was the first place I’d ever heard the great tune, “When Sunny Gets Blue” and was recorded live in the studio with Costa's 60-piece orchestra.





Rankin’s fans included not only Peggy Lee, Mel Torme and Carmen McRae who covered his compositions but sax great Stan Getz who called Rankin, “a horn with a heartbeat”. Johnny Carson and Paul McCartney could be counted as two of Rankin's most appreciative admirers. Carson penned the liner notes to Rankin’s ’67 debut release, MIND-DUSTERS and featured the singer on The Tonight Show over 20 times. After hearing Kenny’s version of “Blackbird” (KR was to record numerous Beatles tunes over the years), McCartney pegged Rankin to perform it when Lennon and McCartney were inducted into the Songwriter’s Hall of Fame.



Sometimes when an artist presenting such well-crafted music as exhibited on this well-thought out compilation and the albums from which the tracks come, performed live back in the day before people sang regularly to pre-recorded backing tracks, one was disappointed by the concert experience. Not the case with Kenny Rankin. When we booked Kenny into San Diego State’s Montezuma Hall in the mid-70s, he showed up with a small group and wowed the crowd with the beauty and tasteful purity that was the essence of his artistry.



Here's a nice interview with Kenny followed by a beautiful live medley of "Here's That Rainy Day" and "Blackbird"

TODAY’S LISTENING PLEASURES (#2)

Whenever I get to either coast, I generally spend some time catching up on the stack of CDs awaiting me in my overflowing mail bin or rediscovering some things I may have yearned for while “stationed” on the other shore. Here’s what I’ve been listening to this week.

Ratings system for music is as such:
***** Don’t miss this one. A keeper.
**** One of the better records I’ve heard lately. Well worth the price.
*** If this artist is on your radar, you won’t be disappointed but probably not my favorite thing they’ve done.
** If you are a fan, take a chance. An average record for my taste. Find it on sale if you can’t resist. Who knows I could just be in a bad mood. I’ll always listen again to a ** CD, just to be sure,
* I made it all the way through once. Unlikely I’ll listen a 2nd time.
No stars Sing in the shower, you’re better off.




CHICO HAMILTON – TWELVE TONES OF LOVE – Joyous Shout (2009)
***1/2
This recent release is a wonderful testament to the history and musically diverse jazz sounds of bandleader/drummer/composer Hamilton who continues to put out exhilarating music on his own Joyous Shout imprint at 88 years of age. Like his old friend and musical compatriot, Gerald Wilson, Hamilton is an NEA Jazz Master and continues to make vibrant artistic statements when most of his peers are long since gone. A tribute to his late wife and to many of the musical friends and cohorts he has known throughout his illustrious career (including the tune “Steinway” written in honor of Wilson) Twelve Tones Of Love finds Hamilton writing for septet with a couple of ringers thrown into the mix. Trombonist George Bohanon, alto saxist Jack Kelso and vocalist Jose James make stellar appearances. The only two tunes that don’t move me are the two back-to-back electric bass features, “First Light” and “Raoul” which, to these ears interrupt the flow of the record’s wonderful atmosphere.


ONE FOR ALL – RETURN OF THE LINEUP – Sharp Nine Records (2009)
***1/2
The New York-based cooperative jazz group is made up of solid leader/arranger/improvisers across the board hence the name producer Marc Edelman gave their previous outing, The Lineup. In the liners he explains the impetus for the name was that they “are all heavy hitters”. And this, as with most of their previous output, is a strong top-to-bottom hard bop session. Wonderful playing around every turn from all involved, especially by the always-formidable tenor player, Eric Alexander. Rotundi’s solo turn on the second track is flowing and concise and followed by Eric’s warmed toned and crystalline solo. Pianist David Hazeltine and drummer Joe Farnsworth comping lively behind him, finds John Webber on bass as the solid pulse holding things tight. For my money Farnsworth is the lynchpin on this record. He does nothing but swing and especially on the up-tempo tracks he and Hazeltine seem to think and move as one. Art Blakey alumnus trombonist Steve Davis has long been one of the premier bop players on his instrument.
A first call guy, tremendous arranger and what led me to this band in the first place. They are a fantastic band live. FYI – the incredible Peter Washington was long the main bassist in the band but whether Washington, Webber, or Ray Drummond onboard this band is all about solid swing, tight ensemble playing and writing and inspired soloing in service of the group’s dynamic arrangements. Favorites here are Eric’s arrangement based on Coltrane’s take on the Gershwin tune, “But Not For Me”, Eric’s own “Road to Marostica” which features his most burnin’ outing on the disc and the final cut, Hazeltine’s quick-paced walker, “Blues for JW”. If you like your bop with a major does of swinging propulsions try The Return of the Lineup.

THE FULL DISCLOSURE SECTION:

CDs by CURRENT & RECENT ROLLING THUNDER PR CLIENTS ~ , FORMER CLIENTS THRU DL MEDIA ~~ , MUSIC BY FRIENDS^, AND MUSIC FEATURING ME^^ (in musician, production or songwriting capacities) …

As a publicist for my own firm, ROLLING THUNDER PR, I am pleased to be working some spectacular releases. In my CD player are always some of my current and recent clients as well as music I have been fortunate to be affiliated with as a publicist for DL MEDIA since 1987. Thus I will refrain from reviewing or rating those releases but will include either press quotes or synopsized blurbs from press releases to give you a glimpse of my musical surroundings as well as places to find out more information.

~ANDRE MATOS – QUARE – Inner Circle Music (2010)
With influences ranging from Trane to Lightnin’ Hopkins, Schoenberg to Nirvana, Jim Hall to Derek Bailey guitarist Andre Matos has embraced the New York improvised music scene since his arrival from his native Portugal. His latest release on Greg Osby’s Inner Circle Music label is a fascinating and open-minded step forward for the fearless young artist. Willing to embrace the sonic possibilities of his young ensemble and incorporate electronics, modern avant-garde elements while remaining rooted in the atmospheric daring of his generation’s predecessors makes for one of the year’s most interesting guitar records.
“There is no doubt that Matos has chops to burn. I would place him firmly in the tradition of a John Abercrombie/Pat Martino, a bit of Sonny Sharrock at moments, definitely a lot of Berkelee influence…” – AllAboutJazz
Learn more about Andre Matos...

~FRED HO & THE GREEN MONSTER BIG BAND – CELESTIAL GREEN MONSTER – Mutable/Big Red Music (2010)
One of the true modern Renaissance men, Fred Ho is a consummate baritone saxophonist, bandleader and composer of operas, multi-media pieces and music for his many different ensembles. He is also an accomplished author, essayist, political activist, clothing designer and outspoken cancer survivor. His latest group FRED HO & THE GREEN MONSTER BIG BAND shines on their debut recording. CELESTIAL GREEN MONSTER features arrangements of music from American pop cultural treats such as the “Theme from Spiderman” to Iron Butterfly’s “In-A-Gadda-Da-Vida” as well as original compositions that push and challenge the amazing improvisational talents of this incredible band. Where Mingus meets the avant-garde on the Green Hornet’s turf.
For more on Fred Ho...

~JD SOUTHER – RAIN: LIVE AT THE BELCOURT THEATRE – Slow Curve Records (2009)
Featuring members of the band from his comeback CD including Flecktones saxist Jeff Coffin, Nashville trumpet man Rod McGaha and New Orleans pianist Chris Walters among them, JD and his crack ensemble lay fresh spins on tunes from IF THE WORLD WAS YOU as well as a couple of his greatest hits, including “A NEW KID IN TOWN” and “SILVER BLUE”. The six song EP is not only Souther’s first official live document but his first digital-only release (available at Amazon, iTUNES and all the usual download spots…look for the exclusive iTUNES download of JDs Top Ten hit, “You’re Only Lonely). Recorded at the historic Belcourt Theatre in Nashville.
For more on JD Souther...

~JD SOUTHER – IF THE WORLD WAS YOU – Slow Curve Records (2008)
Souther’s comeback record after 25 years out of the limelight. He’s written some great tunes influenced by a trip to Cuba ten years ago and pulled together a band of jazz ringers to suffuse his always pretty and slippery melodies with some Latin touches and a looseness born of playing with the band live in the studio. As a former jazz drummer/saxist, JD knows from whence he draws.

~LAUREN SEVIAN – BLUEPRINT – Inner Circle Music (2009)
~JACOB YOFFEE – DEAD RECKONING – Inner Circle Music (2008)
Two wonderful yet very different young saxophonists on Greg Osby’s Inner Circle Music label. I keep coming back to these CDs. Yoffee is a protégé of Gary Thomas, out of Baltimore by way of Pittsburgh. Sevian gained some important NYC cred as one of the rotating bari players in the Mingus Big Band, sharing that chair with major players such as Ronnie Cuber and Gary Smulyan. Well-conceived, smart recordings filled with impeccable players and invigorating charts. Keep an ear open for these two fresh jazz talents.
Learn more about Lauren Sevian and Jacob Yoffee

~~HUGH MASEKELA – PHOLA – Time Square Records (2009)
Masekela returns to his South African roots while embracing the modern technological sounds of his more recent offerings. The wide-open spaces in this music, it’s political observations and warm, good time sound all combine to make one of his most enjoyable and heartfelt records in many years. I love the bed of South African rhythm and guitar sounds throughout.
For more on Hugh Masekela...

~~PAT METHENY/GARY BURTON – Quartet Live! – Concord Jazz (2009)
This highly anticipated “reunion” tour of the band that launched Pat Metheny to national prominence as a teenager in his late 70s stint in Burton’s quartet, is as expected, brilliantly played. The joy of their playing together after all these years is palpable. Though the force of Metheny’s stardom and musical persona have only clarified and been accentuated over the ensuing years. Pat has now usurped some of his former boss’s luster. But you can’t tell on this recording. Burton was indeed the mentor and guiding light of the early band, but the current tour provided some of the most invigorating playing from the vibraphonist in years and Steve Swallow is a great foil for the front men as well, his thick electric tone perfectly intersecting with the ensemble. Antonio Sanchez, who has played with the guitarist since 2002 in both the Pat Metheny Group and the Pat Metheny Trio with Christian McBride, seems right at home filling original quartet drummers, Bob Moses or Danny Gottlieb’s shoes.
For more on Metheny/Burton Quartet Live!


^BEAR BONES – LIVE AT THE PUB, BIG BEAR LAKE, CA – EJN Music (2008)
Bear Bones is a local Big Bear Lake acoustic band led by guitarist/vocalist Rich Spaulding. I have known and played with Rich is various grouping on the mountain over that past four years or so. A fellow Deadhead, Rich’s love for old-time roots music, folk, bluegrass and blues is what is central Bear Bones repertoire. Roy Coulter on mandolin, vocals and occasional guitar is deeply rooted in the Great 60s Folk Scare bringing a batch of tunes into the band from that period and beyond. Bassist Eric Nutter is the documentarian for the band as well. Also on this CD is Bongo Billy Soares who keeps to the fringes in more ways than one. This homemade release helps me hear what they are striving for so that when I hit town I know what they’ve been up to. They play songs here like the Irish fiddle tune “Whiskey Before Breakfast” (sans fiddle), Norman Blake’s “Slow Train Through Georgia”, Tom Russell’s “Blue Wing”, Jimmy Reed’s “You Lied, You Cheated” and traditional keepers such as “Hand Me Down My Walkin’ Cane”, “I Never Will Marry” and “Stewball” among them. I enjoy playing with these guys every chance I can because the sets consist of so much music I don‘t get to play in any other configuration. For Bear Bones, it’s all about the tunes.
For more on Bear Bones and Rich Spaulding...


^^CHRIS HAZEWSKI – “TIME TO DANCE (FREE AT LAST)” – MPEG-4 video songwriting demo –
My good buddy, Zeus, original guitarist for my fave East Coast band the Mad-Sweet Pangs is following in my footsteps and now calling the beaches of San Diego his home. We had a great time reuniting in DE for the holidays this past December and I sent him a couple sets of lyrics to put some music to. Low and behold here is the first fruits of our efforts. A grand start, I do believe. Thanks for sending the video, Zeus. Can’t wait to get this tune into the studio and see what becomes of it. Zeus also sent it to the Pangs to peruse so I’m crossing my fingers that they will dig it and splash it around their sets. It’s a tune all about starting over and reinventing oneself, sort of the follow-up to my song, “Why Waste Time” which led off the PORCH CHOPS’ Lifeboat CD. I was one of those people who rarely if ever danced but at 48 years old my friend Katy Morris enticed me onto the dance floor at Christian and Ellen’s wedding and I’ve been obsessed with it ever since. How else will a shut in like me get any exercise?
“TIME TO DANCE (FREE AT LAST)” © 2010 Brad Riesau & Chris Hazewski / v32unes

AN UNFATHOMABLY BAD ALBUM BY A MAJOR ARTIST - This is NOT an April Fool's joke though it should be...

AN UNFATHOMABLY BAD ALBUM BY A MAJOR ARTIST
-- an ongoing retrospective

Today’s nomination:
Phil Everly -- LIVING ALONE Elektra 2e 613 - 1979
Let me preface by saying that without the harmonies of the Everly Brothers the Beatles, Simon & Garfunkel, The Beach Boys, The Eagles...every other harmony-centric band to climb a stage since would be a shadow of themselves. In addition, they are one of the few 50s groups whose original recordings I go back to year after year with fresh ears and thoroughly enjoy. That said, this album by usually inspiring Phil Everly supplied, quite possibly one of the most painful 30 minutes of my life while listening to this record. Especially after listening to great Everly Bros. music for 3 hours previous. Bad, Bad, Bad. This 1979 solo album from the younger Everly Brother during a period when the brothers weren't speaking to each other (for over a decade). Nothing odd about that, just more brotherly love/hate between sibling musicians stuck in the same plane/hotel/studio/career trajectory quagmire.


In the grand tradition of Tommy & Jimmy Dorsey and carrying the torch for the soon to be fireworks from Ray & Dave Davies, the entire Beach Boys family and so many more. But this record has little to do with the brothers personal problems other than THERE IS ONLY ONE OF THEM HERE and HE MADE A CRAPPY RECORD…and as always…how much is the artist’s fault or the label’s or the producer’s? You never really know. And true, a listener’s expectations always play into one’s reaction to a less than brilliant record…Look at all the folks who slagged Pet Sounds (Mike Love, ya listening?) wondering where had all the little deuce coupe’s and surfboards gone—“long time passing…”

But LIVING ALONE? Total misstep. Huge bummer. Stellar fuck-up. Complete and solid agonizing crap. Horrid period production from Snuff Garrett. A long-time successful producer, entrepreneur in the music industry with his share of successes. Obviously, not on his tip here.

Let’s explore the pain…Disco/Spinners-esque opening tune. Huh? From an Everly Brother? The guys who basically, by proxy, taught The Beatles and Simon & Garfunkel how to sing? Now, I dig the Spinners. But when you put on the Spinners, you expect The Spinners. That string-wash of Philly soul, goosey bass line and street savvy slickness. Uh, okay…so I write off the first tune to a commercial stab at modernity…


I should have quit while I was ahead. What's up with the 2nd tune? A beautiful tune that starts up kinda strummy …okay, better but wait… the opening line, the title is sung in German…odd…a story of falling for a German girl I guess. Okay, but on a comeback album shouldn’t this have been buried ¾ of the way through side 2? Okay, I presume it was sort of a writing exercise…and maybe, Phil is big in Germany, the Hasselhoff of his era, who knows. Just plain stupid. Not really comeback material, though production on this # is sort of ELO-ish which isn't too bad...comparatively. Oy.

Next is a HORRID song with synthy disco-y FX and those Synsonic drum type sounds WAY too loud in the mix. Wasn't disco over by this time? Sickening. I keep telling myself that I’d love to hear some of these songs done "NORMALLY", but, no, probably not. This is the worst track EVER!!! I won't even comment on the last two tunes on side one because though they just ended while I was writing the above...I have absolutely NO recollection of them.

The most rockin’ tune thus far has a verse about weenies, yes, hot dogs. It's a song called “California Gold” maybe about pot or sunshine or disco money??? Who friggin’ knows. This is a tune trying to cop a timely Eagles sort of L.A. hipness. No cigar. But that is only the beginning of side B. The second tune is by far light years better than anything previous and it is late 70s schmaltz but almost a huge relief which is a bit disconcerting. Sort of Air Supply-light, but there was a lot of that going around and the Everly’s were always romantic before romance was unhip.

WAIT...holy fucking shit...what’s this? A way fast tempo, aerobicizing, disco tune call "I Don't Feel Like Dancing" which would be perfect for Donna Summer at her MOST dance-y. Phil sings in falsetto. Again, why? The fucked up thing about this album is there are a ton of songs without even an overdubbed Phil harmony...which you would think would be a given...now, I may be mistaken there but I sure as hell am not going back to listen to the album again to be sure…if I’m wrong, have fun finding out. Here there are horrendous disco-y chick backing vocals on things...God this sucks...sucks BIG TIME!!!

Next is a really bad, sappy almost country ballad with pedal steel and, what, celeste???, Christ! Yuck. Really, shouldn't Snuff Garrett have his producer's license revoked after this...oh my god. No wonder Phil bit the bullet and made amends with his brother 4 years later. I can't imagine that Phil Everly was actually sitting home for a decade thinking, "When I come back to the scene I can't wait to make a disco record..." Was he actually sitting around listening to this music? Was the world really so lame that someone of his talent and track record would completely lose his mind and fall for this shit? Then the final song has actual, slick L.A, rock guitar (though stiff and pedestrian, remember pedestrians have the right-of-way in California. Coincidence? I think not.) The tune is a rocker about "The Fall of '59" back when Phil felt “more like me”, meaning himself. Obviously. This “rocker” (I know, it’s a stretch) has a horrible disco bass line and a Beach Boys-esque backing vocal riff…the hook sounds a little Eaglesque also. The ending is sort of abrupt as if they couldn't wait to be done with this record. Did the musicians go home every night and call their friends and say, "You won't believe the shit I played today FOR MONEY!!!"

Thankfully, we’d only have a few short years to wait for a full-fledged Everly Brothers comeback with a killer live REUNION CONCERT recording, 3 pretty decent studio records and a bunch of killer live dates with a band led by the stupendous Albert Lee on guitar. It only lasted for a handful of years but it was sure nice while it lasted.

As opposed to the polar opposite with this LP reviewed above. Maybe there’s a reason Phil was LIVING ALONE at the time…probably drove people out of the house playing this shit.

This album is officially for sale...make me an offer...

Send me your choices for AN UNFATHOMABLY BAD ALBUM BY A MAJOR ARTIST...