Candice Ivory, Charlie Hunter - When The Levee Breaks: The Music of Memphis Minnie

Styles: Vocal And Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 46:00
Size: 106,5 MB
Art: Front

(3:32) 1. Me and My Chauffeur
(3:34) 2. When The Levee Breaks
(2:42) 3. You Can't Rule Me
(2:38) 4. When You Love Me
(3:48) 5. Blues Everywhere
(5:10) 6. Crazy Crying Blues
(4:32) 7. World of Trouble
(3:31) 8. Pile Driving Blues
(3:53) 9. Hole In The Wall
(4:56) 10. Hard Down Lie
(3:18) 11. HooDoo Lady
(4:20) 12. New Bumble Bee

Candice Ivory is more than a little ambitious to conceive and execute an album comprised wholly of material by blues icon Memphis Minnie. But to her credit, she has been quite resourceful in enlisting some formidable resources in the effort: guitarist/bassist Charlie Hunter serves as a player and the album producer, the latter role he also filled on the album of the steel guitarist here DaShawn Hickman.
Needless to say, camaraderie abounds throughout the dozen cuts, beginning with a flourish on "Me And My Chauffeur." Percussion from Brevan Hampden and Atiba Rorie digs a groove deepened by Hunter, over which Hickman tosses tantalizing curls of notes. The Minnie tune covered (and duly credited) by Led Zeppelin is wisely the second track and continues in the earthy realm of the opener: the multi-track vocals of Ivory conjure a ghostly atmosphere by contrast with the use of just a single voice on the refrain.

Drummer George Sluppick's presence on the anthemic "You Can't Rule Me" recalls his redoubtable stability for the initial incarnation of the The Chris Robinson Brotherhood. He is straight ahead with his kit on this cut, meshing smoothly with the rest of the band and especially so with his rhythm partners, not the least of whom is Hunter when he injects some of his mobile bass work into the mix. Fully arranged for an ensemble, that number is well-positioned as an extension of the more skeletal opening.

That track also serves as a complement to the acoustic textures of "When You Love Me." Ivory's history in a choir featuring future R&B star D'Angelo stands her in good stead as she really cuts loose with her voice here; nevertheless, she sings with more than a little nuance and thereby clearly communicates the humorous symbolism of "Blues Everywhere."

In performing with such apparent effortlessness, in tandem with her kindred spirit accompanists, Candice Ivory nevertheless posits herself as a figure of staunch independence and forthrightness comparable to the source of her inspiration. The clarity of the Benjy Johnson recordings (subsequently mastered at Lurssen) are a direct reflection of that indomitable stance.

The punchy audio throughout this forty-six minutes might belie the vintage tenor of the songs. Ultimately, however, it's indicative of how timeless is the appeal of the blues, whether in the form of the nonchalant saucy strut of "World of Trouble" or the elastic reggae bounce of "New Bumble Bee."By Doug Collette https://www.allaboutjazz.com/when-the-levee-breaks-the-music-of-memphis-minnie-candice-ivory-the-little-village-foundation

Personnel: Candice Ivory-vocals; Charlie Hunter-guitar; George Sluppick-drums

When The Levee Breaks: The Music of Memphis Minnie

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Kurt Elling - SuperBlue

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 48:41
Size: 112,1 MB
Art: Front

(4:45) 1. SuperBlue
(4:18) 2. Sassy
(5:29) 3. Manic panic epiphanic
(4:51) 4. Where to find it
(5:49) 5. Can't make it with your brain
(4:22) 6. The seed
(5:58) 7. Dharma bums
(4:55) 8. Circus
(6:54) 9. Endless lawns
(1:16) 10. This is how we do

A collaboration with guitarist Charlie Hunter, SuperBlue finds vocalist Kurt Elling exploring a sophisticated funk and soul sound. Hunter, who plays here and also produced the album, is primarily known for his fusion-informed jazz and adventurous, funk-influenced projects like Garage a Trois. However, he has also made significant contributions to albums by forward-thinking neo-soul and R&B artists, including D'Angelo and Frank Ocean.

It's this deep grasp of those funky, groove-oriented vibes that he brings to his work with Elling on SuperBlue. Also contributing are Butcher Brown bandmates drummer Corey Fonville and bassist-keyboardist DJ Harrison, who bring their own hip-hop sensibilities to the proceedings. The ensemble initially began sharing tracks and musical ideas online while in quarantine due to the COVID-19 pandemic. Eventually, Elling and Hunter met up in an Illinois barn turned studio to add vocals and guitar to the arrangements.

Despite the implied difficulty of the process, SuperBlue is one of Elling's most sleek and relaxed recordings, bringing together some of the beat poetry-influenced spoken word of his early work with the warm, lyrical vocal swagger he's known for. Cuts like the title track, "Manic Panic Epiphanic," and "Can't Make It with Your Brain" are fluidly engaging jams that marry Elling's burnished lyrical flow with Hunter's knack for kinetic grooves. We also get a dusky reworking of "Endless Lawns," originally recorded on 2018's The Questions.

If the earlier version already evoked the romantic '70s soul of Stevie Wonder and Donny Hathaway, this version magnifies the influence as Hunter frames Elling in slow-burning organ and supple bass accents. SuperBlue certainly straddles the line between electric jazz fusion and groove-based neo-soul, with a heavy leaning toward the latter.

While there are some superb solo moments here from Hunter, not to mention dazzling sections of vocal gymnastics by Elling, the focus is less on post-bop improvisation and more on a song's overall vibe. For Elling and Hunter, the choice feels purposeful and right for the funky, organic nature of these songs. SuperBlue is an ebullient and creative production that further underlines Elling's dynamic and endlessly adaptable vocal skills, regardless of genre.By Matt Collar
https://www.allmusic.com/album/superblue-mw0003515798

Personnel: Kurt Elling: Voice; Charlie Hunter: Hybrid Guitar; DJ Harrison: Keyboards; Corey Fonville: Drums, Percussion

SuperBlue

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Charlie Hunter [feat. John Ellis & Derrek Phillips] - Friends Seen and Unseen (Remastered)

Styles: Jazz fusion, Post-Bop
Year: 2022
File: MP3@320K/s
Time: 56:52
Size: 130,6 MB
Art: Front

(6:31) 1. One For The Kelpers
(5:40) 2. Freedom Tickler
(6:41) 3. Lulu's Crawl
(6:56) 4. Darkly
(6:22) 5. Soweto's Where It's At
(3:42) 6. Running In Fear From Imaginary Assailants
(6:58) 7. Eleven Bars For Gandhi
(3:56) 8. Bonus Round
(4:42) 9. My Son The Hurricane
(5:20) 10. Moore's Alphabet

The prolific and ever interesting Charlie Hunter continues to change musical colors. For over ten years the unique guitarist has continued to produce releases that prove his talent and popularity. Some have hailed Hunter as the new crossover jazz prince who has attracted younger audiences with recordings such as last years Right Now Move and 2001‘s Songs from the Analog Playground which featured guest singers Kurt Elling, Mos Def, Theryl de Clouet, and pop sensation Norah Jones.

With music that is clearly open to the masses be it jazz or otherwise the guitarist is in a class by himself when it comes to technique. His claim to guitar fame lies in his ability to simultaneously play both bass and guitar parts on his specially designed eight-string guitar, which results in most of us asking, “How in the world is he doing that?”- A technique primarily used by Hammond B-3 players in which Hunter also produces organ-like sounds on his guitar. But his success lies not only in his ability but also in his choice of musicians that have been featured with the guitarist in various groups from duo to quintet formats.

The new recording Friends Seen and Unseen finds the guitarist going back to his roots in a trio setting. His last trio release was the landmark Bing, Bing, Bing released in 1995 which put the guitarist on map. Hunter’s new trio features the dynamic skills of saxophonist John Ellis and drummer Derek Phillips both from Right Now Move. The trio setting is naturally more intimate and allows the musicians to interact with a tight yet free style with music that should appeal to both long time and newer fans.

The new material is a well-rounded mix of styles that prove Hunter is more than just a jam-band guitarist. Hunter’s music has always been and continues to be about the groove. The opening piece “One For The Kelpers” features a funky vibe with Hunter’s bass strings laying down the slow cooked groove while “Freedom Tickler” introduces a freer melody allowing the trio to stretch things out musically with open solos. Never one to take himself too seriously Hunter adds both depth and humor on “Lulu’s Crawl” which could be the theme song for a sleazy Vegas strip tease show, with honking saxophone, guitar effects, and vivid drumming.

The trio members are up for the challenge and bring their own diverse styles to the music. Ellis is not only a fine saxophonist but also adds some nice touches with baritone sax and also strong flute work on “Darkly”. Derek Phillips also shines on “Darkly” with crisp drum work that is the glue to the recording as he provides expert timing and energetic kit work on every selection.

If Hunter is about the essence of the groove, he is also knows something about the blues. His unique take on “Running In Fear From Imaginary Assailants” has a delta blues feel as he incorporates wah-wah-slide effects and other touches as Ellis and Phillips join in on the fun. The very next selection “Eleven Bars For Ghandhi” seems to pay homage to guitar greats such as BB King and Buddy Guy with wailing notes and soulful phrasing.

With loose comparisons to other recordings there are familiar selections such the reggae themed “Soweto's Where It's At” which recalls 1997’s Bob Marley themed Natty Dread and “Moore’s Theme” which brings to mind 1996’s odd but special Ready...Set...Shango!. With a debatable marketing statement that states that this is Hunter’s best recording ever, the new recording clearly stands on its own and proves that the maturing guitarist still has that special something that keeps the music fresh, vibrant, and enjoyable.By Mark F. Turner
https://www.allaboutjazz.com/charlie-hunter-trio-friends-seen-and-unseen-by-mark-f-turner

Personnel: Charlie Hunter - 8-string guitar, John Ellis – Saxophones, Derrek Phillips - Percussion

Friends Seen and Unseen

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Charlie Hunter & Bobby Previte - We Two Kings

Styles: Guitar, Holiday
Year: 2022
File: MP3@320K/s
Time: 39:17
Size: 90,4 MB
Art: Front

(3:01) 1. Joy To The World
(3:14) 2. Deck The Halls
(2:46) 3. It Came Upon The Midnight Clear
(2:59) 4. God Rest Ye Merry Gentlemen
(3:22) 5. Hark The Herald Angels Sing (Feat. Curtis Fowlkes)
(3:54) 6. We Three Kings
(4:10) 7. The First Noel (Feat. Curtis Fowlkes)
(2:58) 8. Good King Wenceslas
(3:40) 9. Angels We Have Heard On High
(2:46) 10. Jingle Bells
(3:06) 11. Oh Come All Ye Faithful (Feat. Curtis Fowlkes)
(3:13) 12. Silent Night

A Christmas record from two master musicians that will shake, rattle, and roll your holiday.

Beautifully arranged, brilliantly played, and unlike any other version of these great songs, We Two Kings re-imagines the classic carols as surf, country, metal, jazz, and beyond. With the exception of guest trombone player Curtis Fowlkes, Previte and Hunter play all the instruments guitars, basses, drums, pianos, organs, and all manner of percussion. A stunning tour-de-force that takes you on a wild, fun and sometimes hilarious musical journey of joy, We Two Kings is a record that you will never want to be without during the holiday season. Hear these classics like you have never heard them before on We Two Kings. https://bobbyprevite.bandcamp.com/album/we-two-kings

Personnel: Charlie Hunter - guitars, basses, keyboards, percussion; Bobby Previte - drums, percussion, keyboards, sampling; Curtis Fowlkes- trombone

We Two Kings

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Charlie Hunter, Chinna Smith, Ernest Ranglin - Earth Tones

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 57:31
Size: 132,1 MB
Art: Front

(5:48)  1. Long Bay
(9:15)  2. What I Am
(4:13)  3. Mestre' Tata
(6:45)  4. Live Got the Handle
(5:07)  5. One Foundation
(7:23)  6. Fade Away
(6:31)  7. Passion Dance
(8:29)  8. Rivers Of Babylon
(3:56)  9. Island In the Sun

It's been nearly a decade since Charlie Hunter collaborated with other guitarists (the great T.J. Kirk band of the mid-'90s), but Earth Tones finds him revisiting the format with very different results. T.J. Kirk was a fun band, but there was a bit of shtick involved: they brought an outgoing fusion sensibility (and a good bit of humor) to the music of Thelonious Monk, James Brown, and Rahsaan Roland Kirk. Earth Tones is something far more sublime. Hunter got together with legendary Jamaican guitarists Ernest Ranglin and Chinna Smith for an easygoing set of (mostly) covers that largely tread the kind of Jamaican-flavored jazz that Ranglin's been known for for years. There are some reggae and dub elements here and there, but you'd be hard-pressed to call it a reggae album. Recorded with very few overdubs, the cooperative arrangements are perfect, with plenty of space for everyone and the players almost finishing each other's thoughts. Hunter's guitar always has a bit of Leslie effect on it (remember, he's throwing down the basslines at the same time!), Chinna sticks to acoustic, and Ranglin plays with his trademark clean electric sound, so it's really easy to pick out who's doing what and compare their different styles.

Ranglin's fluid melodic lines contrast nicely with Smith, who makes some surprising yet wonderful note choices and wild intervalic leaps in his solos. Sharing the spotlight, there's less of Hunter's soloing than on his "proper" albums, but his playing is always fantastic and he lays down some big fat basslines. Drummer Shawn Pelton is ultra-supportive on drums and contributes tasteful drum programming that sometimes bubbles up from underneath, while session percussionist Manolo Badrena adds just the right accents. This album has the casual feel of a one-off affair, but that certainly doesn't mean it's any less enjoyable than Hunter's myriad other projects. In fact, this would have to rank right up there with his best, although one wouldn't necessarily consider this a Charlie Hunter project; it's a true collaboration. Regardless, putting these guys together was a stroke of genius. ~ Sean Westergaard http://www.allmusic.com/album/earth-tones-mw0000703553

Personnel:  Acoustic Guitar – Earl "Chinna" Smith;  Drum Programming – Shawn Pelton;  Drums – Shawn Pelton;  Electric Guitar – Ernest Ranglin;  Guitar [8-String] – Charlie Hunter; Percussion – Manolo Badrena

Earth Tones

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Dara Tucker/Charlie Hunter - The Seven Colors

Styles: Vocal And Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 40:42
Size: 94,5 MB
Art: Front

(2:34)  1. The Seven Colors
(4:18)  2. Miracle
(3:56)  3. Miss Me
(3:15)  4. Mantle
(4:21)  5. Glory
(4:26)  6. Windows
(1:56)  7. A Place Like This
(4:23)  8. Song of Freedom
(3:19)  9. Bright Red Hue
(4:45) 10. End of the River
(3:24) 11. Won't Be Long

Outstanding jazz vocalist will perform with guitarist Charlie Hunter, producer of her forthcoming album, at Nashville Jazz Workshop.  Acclaimed Nashville jazz vocalist Dara Tucker has enjoyed substantial critical and commercial success in the past couple of years. Besides appearances on NPR's Jazz Night in America and PBS' The Tavis Smiley Show, she was silver medalist in the American Traditions Vocal Competition, and winner of both 2017 Song of the Year (for “Radio") at the Nashville Indstry Music Awards and the 2018 Johnny Mercer Award. Tucker's sound equally combines traditional and contemporary references, blending influences from the classic jazz canon with blues, rock, soul and gospel elements. That mix provides the thematic foundation of her new LP The Seven Colors, which was produced by dynamic guitarist Charlie Hunter.  Though the album won't be officially released until May 31, Tucker and her band (including bassist Greg Bryant and drummer Derrek Phillips), with Hunter appearing as a special guest, will be performing songs from it tonight in an album release concert at the Nashville Jazz Workshop. "Charlie is a master sensei," Tucker tells the Scene in an email. "He brings a musical wisdom that comes primarily from the blues tradition. I’m accustomed to approaching music from the top down. I get a melody [or] lyrics, and I build down to the foundation (bass/drums/groove). Charlie works the complete opposite way  from the bottom up. He helped me to approach music-making from a perspective I never had before. There’s a minimalism there that he strove to maintain. He has always felt that my voice thrives in an environment where it’s competing with very little."

The LP contains both older tunes and newer songs, and represents the fruition of a collaboration that began when Tucker was on the road with Hunter for 40 dates last year. “He asked me to send him some material that would be good for a guitar combo," says Tucker. "I had several songs I had written over the years that I thought would work well in that context, but at the last minute, I decided to write a couple more songs with that specific instrumentation in mind (guitar/bass/drums). I was feeling really inspired after spending a year on the road with Charlie, so the songs I came up with (“Miracle” and “Glory”) really reflect his sound, and fit well with his production concept, I think."The Seven Colors also represents a change from past Tucker releases like Oklahoma Rain, where she was heavily involved in all phases of the recording. "With this album, I took a bit of a backseat after writing the tunes," says Tucker. "I wanted to allow Charlie Hunter to have full reign, and to be able to execute his vision for the songs. So, it was fully collaborative between the two of us  my material, his concept."He welcomed the band’s input when we had different ideas, but it was important to me that it reflect his vision in the end. What we got was something quite different than what we’ve achieved with previous projects. Charlie knows how to make the groove the central thing. I can get a little bogged down with storytelling at times, and the groove often takes a back seat. But he put the groove right up front and helped us craft a project that tells a story while giving that groove its proper respect." Tucker & Co. will share the fruits of their labors starting at 8 p.m. Advance tickets are sold out. Below, check out “Miracle” and “The Seven Colors” from the album, and check with your favorite record store or see Tucker’s website to preorder a copy of the album. https://www.nashvillescene.com/music/nashville-cream/article/21070286/dara-tucker-celebrates-the-seven-colors-tonight

The Seven Colors

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Charlie Hunter, Lucy Woodward - Music! Music! Music!

Styles: Vocal And Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 53:35
Size: 123,3 MB
Art: Front

(4:49)  1. Soul of a Man
(4:44)  2. Can't Let Go
(6:47)  3. Plain Gold Ring
(3:57)  4. Please Don't Let Me Be Misunderstood
(5:54)  5. The One I Love is Gone
(4:56)  6. Wishing Well
(4:13)  7. Be My Husband
(5:10)  8. I Don't Know
(4:52)  9. Angel Eyes
(3:45) 10. You've Been a Good Ole Wagon
(4:24) 11. Music! Music! Music! (Put Another Nickel in)

Music! Music! Music! will cement the revelatory impression guitarist Charlie Hunter and vocalist Lucy Woodward leave upon attendees of their concerts. Having repaired to the studio in November 2018, the duo maximized the spontaneity of those proceedings through the enlistment of drummer Derrek Phillips. adding a spark that further ignited the keen chemistry the pair had honed on stage. In recent years, Charlie Hunter has revealed a predilection for the blues that may very well have led to this fruitful partnership. It certainly stands him in good stead on the vintage R&B of Ruth Brown's "I Don't Know" and even more so during the antique likes of Blind Willie Johnson's "Soul of a Man." On a particularly saucy take of Bessie Smith's "You've Been a Good Ole Wagon," he simultaneously digs a groove Phillips deepens with his kit, then elaborates on the melody lines with as much relish as Woodward. As on the sultry title track, the latter embraces the role of earthy chanteuse, extracting and articulating the emotions at the core of the material without any discernible affectation. The breakdown late in "Soul of a Man" is just the first instance of how the singer's voice functions as a musical instrument in and of itself. On "Can't Let Go," the vocalist not only elucidates the words, but stretches notes, injects fills and mirrors Hunter's fast fretting on his 'Big 6' guitar. In marked contrast to her staccato approach there, fully in keeping with the beat of "Plain Gold Ring," Lucy Woodward floats above the guitar and percussion, the soft timbres of her voice rising and falling as she anticipates the chord progression and its accompanying accents, the end effect of which is wholly hypnotic. The unity of the Hunter/Woodward/Phillips trio couldn't be more apparent than on "Don't Let Me Be Misunderstood." Bonded as the individuals are, each nevertheless emphasizes a separate component of the tune, always in proportion to what the others are doing. So, the emotion carried in the lyrics unfolds through the woman's rapturous delivery, punctuated with syncopated guitaring and assertive drum work. The action is even more kinetic on Terence Trent D'Arby's "Wishing Well" which effectively serves as a gateway to the album's homestretch, a passage that accelerates through "Be My Husband," Hunter, Woodward and Phillips enacting an audio dance here that could hardly sound more delightful or compelling. The range of this album's eleven tracks, each of which clocks in at roughly four to seven minutes, belies the sparse accompaniment of unadorned vocals. Spacious sound quality emanates from Dave McNair's mastering of the recordings overseen by Stephen Lee Price in High Point, North Carolina: these two technical experts capture what is a surprisingly visceral impact given the spare arrangements. "Angel Eyes," for instance, might prompt a thumbnail description of Music! Music! Music! as a collection of torch songs with a kick, but such a glib summary hardly does justice to the combustion of talent quietly ablaze on this record. ~ Doug Collette https://www.allaboutjazz.com/music-music-music-charlie-hunter-self-produced-review-by-doug-collette.php

Personnel: Charlie Hunter: guitar; Lucy Woodward: vocals; Derrek C. Phillips: drums.

Music!Music!Music!

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Charlie Hunter, Leon Parker - Duo

Styles: Guitar Jazz, Post Bop 
Year: 1999
File: MP3@320K/s
Time: 44:28
Size: 102,6 MB
Art: Front

(4:51)  1. Mean Streak
(4:54)  2. Belief
(5:41)  3. Do That Then
(3:53)  4. You Don't Know What Love Is
(3:17)  5. Recess
(3:04)  6. Don't Talk (Put Your Head On My Shoulder)
(3:05)  7. The Last Time
(5:26)  8. Dark Corner
(6:31)  9. The Spin Seekers
(3:42) 10. Calypso For Grandpa

Guitarist Charlie Hunter and percussionist Leon Parker have more going for them than two hands apiece. Hunter can produce several lines simultaneously and evoke organ, bass and guitar, while Parker runs the gamut of textures from his set. Hunter’s composition "The Last Time," for example, finds Parker with one hand on the drums and another with pulsating shaker, while his partner combines a bass line with melody via his 8-string guitar. Just about everyone has wanted to play guitar at one time or other, and Hunter brings that kind of daydream closer to the heart, if not reality. Six of the tracks on Duo are the guitarist’s compositions, one is Parker’s contribution, and several are old favorites. Background information about Charlie Hunter may be found at http://www.charliehunter.com . An informative article about Leon Parker may be found at http://www.metroactive.com/papers/cruz/10.24.96/parker-9643.html .The duo’s performance offers a variety of rhythmic patterns, both familiar and on the edge. "Mean Streak" provides a gala Afro-Cuban storm, while "The Spin Seekers" drives to a New Orleans shuffle. Hunter’s dedication "Calypso for Grandpa" swirls happily like a "St. Thomas" cousin. There is blues in the picture as well. "Do That Then" is a clear example of the kind of guitar blues that appeals to fans of any age. Deep 1950s fuzz guitar with amp vibrato pours forth with standards "You Don’t Know What Love is" and "Put Your Head on my Shoulder." The walking bass and ride cymbal of Hunter’s "Dark Corner" is guaranteed to introduce more GenXers to the many facets of jazz. ~ Jim Santella https://www.allaboutjazz.com/duo-charlie-hunter-blue-note-records-review-by-jim-santella.php

Personnel: Guitar [8-String], Producer – Charlie Hunter; Drums, Percussion – Leon Parker

Duo

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Stanton Moore - All Kooked Out!

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 62:54
Size: 145,0 MB
Art: Front

(4:16)  1. Tchfunkta
(6:01)  2. Common Ground
(6:15)  3. Green Chimneys
(4:59)  4. Blues For Ben
(3:11)  5. Kooks On Parade
(5:23)  6. Nalgas
(5:03)  7. Witch Doctor
(4:58)  8. Boogaloo Boogie
(4:24)  9. Nobody's Blues
(3:21) 10. Stanton Hits The Bottle
(2:33) 11. Farmstead Antiques
(7:29) 12. Angel Nemali
(4:56) 13. Honey Island

It takes a special kind of drummer to be a leader. Maybe a nervy one. There's the temptation to grandstand with showy over-domination or remain buried in a rhythm section and let someone else take the honors. The most successful drummer-leaders are either innovative melodists like Art Blakey, Shelly Manne and Tony Williams. Or they're artful percussionists like Louis Bellson, Chico Hamilton or Leon Parker. Then there's Stanton Moore. As a New Orleans native, he's grown up on the Mardi Gras gumbo of the Meters and Professor Longhair. But as a drummer, he digs deep into the boogaloo bayou of James Brown and Lou Donaldson. He clearly does not believe drumming merely keeps time. When Moore motivates, you'll start moving. Actually, he makes it seem inhuman to sit still. In other interesting spheres, Moore ignites the New Orleans Klezmer All Stars and scales the charts as a founding member of the popular funk band, Galactic. With All Kooked Out, the young drummer steps out on his own. This excellent debut offers Moore entrance to the funk pantheon (your hosts, Melvin Parker, Bernard Purdie, Idris Muhammad and Harvey Mason) and places him firmly in the same contemporary league of royalty heretofore occupied only by MMW's highly esteemed Billy Martin.

Unlike Galactic's keyboard-driven groove and occasional vocals, Moore opts for an all-instrumental guitar-sax groove on All Kooked Out. As he does elsewhere, he keeps it pretty simple- riding the snare, bass and occasional cymbal - but always with engaging funk at the source. Drum solos are kept to a minimum. But, thankfully, they're always in the context rather at the expense of the music. Moore's real coup is recruiting guitarist Charlie Hunter for this party. Hunter adds the rhythmic kick and the melodic groove that gives Moore's beat real substance. Somehow, Hunter manages an eight-string guitar, giving him the ability to play bass and guitar parts at the same time. With a special attachment, he can even make his guitar sound like a Hammond B-3 organ. Hunter, who's paired less interestingly with Leon Parker on his latest Blue Note release, Duo, proffers a formidable partnership with Moore. The two like-minded hipsters display much interchange, well worth hearing: at least for those who think funk offers something of value. A basic trio (supplemented at times by a small cast of New Orleans all stars including Galactic Matt Pierce on tuba and former Sun Ra trumpeter Michael Ray) is rounded out by the wacky, yet appealing John Zorn saxophonics of Skerik (doin' the Harold Alexander thing).

It's an exceedingly winning combination too. Plenty of shining is heard throughout, notably on the brass band boogie of "Blues for Ben" (a great millennial party tune and a choice slice of Hunter in Wes-meets-Grant mode), John Patton's "Boogaloo Boogie" (an ideal showcase for Hunter's amazing, tuneful facility), the date's lone ballad , the beautiful "Honey Island," and the nice surprise of Dudu Pakwana's "Angel Nemali" (Skerik's best moment). All the while, the drummer puts out, completely in charge. No need to worry about giving this drummer some, he's earning every bit. Name check his influences as you grind through the Lou Donaldson rock of "Common Ground," Monk's clunky and chunky "Green Chimneys," and the James Brown jambalaya of "Nalgas," one of several memorable group originals/jams. Throughout, Moore keeps it funky. And since he keeps the environment limited to mostly just guitar-sax-drums - allowing truly excellent musicanship throughout - he winds up with something that ranks among the year's finer jazz releases. So does funk make for good jazz? Hard to say. Some people just don't want to have fun. They're the ones who think something catchy has nothing to say. Stanton Moore knows better. Those who hear him will surely agree. And those who groove to All Kooked Out will be all the richer for it. ~ Douglas Payne https://www.allaboutjazz.com/all-kooked-out-stanton-moore-fog-city-records-review-by-douglas-payne.php

Personnel:  Stanton Moore: drums & percussion; Charlie Hunter: eight-string guitar; Skerik: tenor and baritone saxophones: Matt Perrine: tuba: Brent Rose: tenor sax, soprano sax; Brian Seeger: guitar; Ben Ellman: tenor sax; Michael Ray: trumpet; Craig Klein: trombone.

All Kooked Out!

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Patricia Barber - Nightclub

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 51:26
Size: 118,1 MB
Art: Front

(4:03)  1. Bye Bye Blackbird
(4:58)  2. Invitation
(6:40)  3. Yesterdays
(3:20)  4. Just For A Thrill
(3:46)  5. You Don't Know Me
(4:50)  6. Alfie
(5:05)  7. Autumn Leaves
(3:44)  8. Summer Samba
(3:25)  9. All Or Nothing At All
(3:42) 10. So In Love
(4:18) 11. A Man & A Woman
(3:28) 12. I Fall In Love Too Easily

The harping of rigid purists or self-proclaimed visionaries aside, the enduring strength of jazz has always been its ability to accommodate both tradition and innovation. Patricia Barber has done plenty of experimenting on albums like Café Blue, Modern Cool and Companion. Her smartly crafted originals and reinventions of rock tunes like “Light My Fire” and “The Beat Goes On” have earned Ms. Barber a much deserved reputation as one of the most unique and interesting singer/songwriter/pianists in jazz. Having found her own distinctive voice and having demonstrated a willingness to push boundaries, Ms. Barber turns her attention to the music’s tradition with this collection of twelve standards. Nightclub provides Ms. Barber with an ideal showcase for her formidable keyboard skills. She is an astonishingly creative improviser who manages to burrow deep inside a song without losing her sense of proportion. Her piano solos on “Bye Bye Blackbird,” “Invitation” and “All or Nothing at All” are concise, brilliantly constructed explorations of those tunes. She undertakes a more extended improvisation on “Yesterdays” where she creates a fascinating dynamic between relaxation and tension. Ms. Barber has surrounded herself with musicians who can match her own high standards. “Autumn Leaves” features a remarkable solo from bassist Marc Johnson, and “Alfie” is highlighted by Charlie Hunter’s 8-string guitar. 

Ms. Barber is a quiet, intense, enormously intelligent singer who can make the hairs on the back of your neck stand up with a single word or phrase. She has chosen these standards with care and her singing is blessedly free of irony or tongue-in-cheek sarcasm. Rather than trying to subvert the lyrics, Ms. Barber underscores the timelessness of their themes by infusing them with her own thoroughly modern perspective. She turns “Just for a Thrill” and a perfectly phrased “You Don’t Know Me” into meditations on dependency and desire that feel completely contemporary. She makes a spare, evocative “I Fall in Love Too Easily” into an exercise in painful self-examination and an exceptional reading of Cole Porter’s “So in Love” into the last word on romantic obsession (no singer has ever gotten as much from the lines “so taunt me / and hurt me”). The CD is not, however, all brooding introspection. There are some lighter moments like the deliciously romantic “Summer Samba.” Some critics will no doubt express consternation over the fact that Nightclub is not a repeat of the Modern Cool formula. However, Ms. Barber deserves credit for refusing to adhere to pre-set expectations. So long as she continues to make CDs with the kind of musicianship and insight she demonstrates here, then the past, present and future of jazz are all in good hands. ~ Mathew Bahl https://www.allaboutjazz.com/nightclub-patricia-barber-review-by-mathew-bahl.php

Personnel: Patricia Barber (vocals, piano); Charlie Hunter (8-string guitar); Michael Arnopol, Marc Johnson (bass); Adam Cruz, Adam Nuzzbaum (drums).

Nightclub

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Charlie Hunter - Everybody Has a Plan Until They Get Punched in the Mouth

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 52:21
Size: 120,9 MB
Art: Front

(5:01)  1. Everybody Has a Plan Until They Get Punched in the Mouth
(7:32)  2. (Looks Like) Somebody Got Ahead of Schedule On Their Medication
(4:02)  3. Leave Him Lay
(5:31)  4. We Don't Want Nobody Nobody Sent
(3:43)  5. Big Bill's Blues
(4:46)  6. Latin for Travelers
(3:52)  7. No Money, No Honey
(6:49)  8. Who Put You Behind the Wheel?
(6:00)  9. (Wish I Was) Already Paid and On My Way Home
(4:59) 10. The Guys. Get. Shirts

Charlie Hunter's Everybody Has a Plan Until They Get Punched in the Mouth is not only his first recording for a major label in nine years, but his first with a larger-than-trio-sized band since 2003. His personnel include drummer Bobby Previte, trombonist Curtis Fowlkes (who both played on 2015's Let the Bells Ring On and 2003's Right Now Move), and cornetist Kirk Knuffke. The album's title paraphrases a quote by former heavyweight boxing champion Mike Tyson. It's a metaphorical reference to the contrast between an envisioned plan for living and the reality that transpires later.

Hunter saturates his approach in blues and vintage R&B here. To get the vibe right, the band recorded live in a Hudson, New York studio; there are no overdubs everybody walked the tightrope. First single "No Money, No Honey" opens with a guitar hammer on, but the band quickly establishes a funky Meters-esque vamp that gets inverted by knotty jazz syncopation. They all flow back to the groove with Previte holding the center. Hunter's solo signals a call-and-response with the brass, who play in Stax-like tandem and add individual fills in the turnarounds. The title track commences as a slow, steamy jazz-blues with gorgeous melodic flourishes, a fine solo from Fowlkes, and a front line that references Bobby Blue Bland, Quincy Jones, and Oliver Nelson. The slow stroll on Bill Broonzy's "Big Bill's Blues" contains a gorgeous early New Orleans jazz feel in the contrasting harmonic dialogue between Fowlkes and Knuffke (though they play the tags in unison), while Hunter's playing is pure mid-'50s Chicago. "Leave Him Lay" is a choogling 12-bar swagger with Hunter's fills stinging through the horn player's vamps. Previte signals various cadence and time shifts as Knuffke takes a languid solo that provides a nostalgic look at early jazz sans artifice. Second single "Latin for Travelers" (titled after Previte's band of the same name) is a sultry, jazzy blues based on a rhumba. There are subtle colors through the horns' harmonies that evoke brass inventions from Willie Colon, Eddie Palmieri, and Wardell Quezergue. Hunter's own break is sharp, in the pocket, and full of soul. The funky NOLA side returns during the intro to closer "The Guys Get Shirts," but doesn't stay there. Previte guides the group through Chicago blues, '20s jazz, and '50s and '60s R&B. The arrangements lock in, offering many twists and turns, but never leave the groove behind. This album is an excellent return to the majors for Hunter. All killer, no filler. ~ Thom Jurek http://www.allmusic.com/album/everybody-has-a-plan-until-they-get-punched-in-the-mouth-mw0002951658

Personnel: Charlie Hunter (8-string guitar); Kirk Knuffke (cornet); Curtis Fowlkes (trombone); Bobby Previte (drums).

Everybody Has a Plan Until They Get Punched in the Mouth

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The Dionne Farris Charlie Hunter Duo - Dionne Dionne

Bitrate: MP3@320K/s
Time: 33:59
Size: 77.8 MB
Styles: Vocal jazz, R&B
Year: 2014
Art: Front

[3:26] 1. Alfie
[3:07] 2. Walk The Way You Talk
[4:12] 3. Always Something There To Remind Me
[4:50] 4. Don't Make Me Over
[4:21] 5. Wives And Lovers
[2:02] 6. Loneliness Remembers What Happiness Forgets
[4:11] 7. Déjà Vu
[3:43] 8. Walk On By
[4:02] 9. You're Gonna Need Me

The debut album from the duo of Dionne Farris and Charlie Hunter, 2014's Dionne Dionne finds the former Arrested Development vocalist and acclaimed jazz guitarist covering songs strongly associated with legendary R&B singer Dionne Warwick. Here, Farris and Hunter take a stripped-down jazz and soul approach to such classic Warwick numbers as "Always Something There to Remind Me," "Don't Make Me Over," "Walk on By," and others. Working as both a creatively inspired collaboration and deeply heartfelt homage, Dionne Dionne will certainly be a revelation for longtime Farris, Hunter, and Warwick fans alike. ~Matt Collar

Dionne Dionne

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Charlie Hunter Trio - Let The Bells Ring On

Size: 101,9 MB
Time: 43:44
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Anthem: USA (4:04)
02. These People (4:19)
03. Pho-Kus-On-Ho-Ho-Kus (5:37)
04. Let The Bells Ring On (4:55)
05. Hillbilly Heroine Chic (4:50)
06. Welcome To Nutley (4:33)
07. Fellini Farm Team (4:38)
08. Ojai Housecoat Of Arms (3:31)
09. Vernel (4:21)
10. Spence (2:50)

The term “Charlie Hunter Trio” can mean a lot of different things, depending on who is playing alongside Hunter’s guitar/bass Novax and the drums of someone else. That meant a saxophonist in the 90s and the first half of the aughts. In 2007, John Ellis’ sax was replaced by Erik Deutsch’s keyboards (for Mistico) and now, that third member is Lounge Lizard and Jazz Passengers trombone specialist Curtis Fowlkes.

The association among the three goes back many years; Fowlkes appeared on Hunter’s Right Now Move quintet release from 2003 and Previte with Hunter make up the core players for their free-improv Groundtruther project. With Hunter once again getting the urge to expand from the duo format he’s enjoyed the last several years with drummer Scott Amendola, he called in Fowlkes to be that third voice.

On June 2, Hunter leads Fowlkes and Previte in this new/old trio from Let The Bells Ring On, expected for release June 2, 2015 on Hunter’s own Charlie Hunter Music.

It’s readily apparent from the above stream of “Those People”, an advance track from Bells, that the extra ‘voice’ instantly makes the music distinguishable from, say, the sparer encounters with Amendola. Fowlkes adds a jazzier presence that perfectly complements Hunter’s and Previte’s tough Memphis groove. The guitarist cedes nearly all the lead duties to the ‘bone player, but the rhythm work bubbling just underneath is just as attention-grabbing and Fowlkes plays locked closely attuned to his two-man, three instrument rhythm section.

Charlie Hunter continues to organically make happy music that’s hard to classify but easy to recognize as his own. No matter who rounds out that trio. ~S. Victor Aaron

Let The Bells Ring On

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Pat Martino - All Sides Now

Bitrate: MP3@320K/s
Time: 51:49
Size: 118.6 MB
Styles: Post bop, Guitar jazz
Year: 1997
Art: Front

[5:02] 1. Too High
[5:52] 2. Two Of A Kind
[5:34] 3. Progression
[4:42] 4. I'm Confessin' (That I Love You)
[3:09] 5. Ellipsis
[3:53] 6. Both Sides Now
[7:46] 7. Ayako
[5:14] 8. Two Days Old
[7:40] 9. Outrider
[2:52] 10. Never And After

The Blue Note Records debut by guitarist extraordinaire Pat Martino is spotty at best. It is primarily a series of duets and ensemble settings with a wide array of top notch guitarists spanning different genres. This recording was co-produced by jazz/fusion critic Bill Milkowski along with Matt Resnicoff. The feeling here is that Mr. Martino had been granted a minimal amount of artistic control from the onset. What we have here is something short of a hack job!

The CD commences with the Stevie Wonder tune "Too High". Charlie Hunter provides his trademark bass/leslie guitar shtick and Martino takes care of the single note runs; therefore, dictating the melody line. All in all a harmless and uneventful rendition of this generally delightful Wonder composition. The 2nd cut, a Martino original features the master along with Tuck Andress, Andress provides some sympathetic acoustic strumming behind Martino's airy electric lead. A nice tune but altogether uninspiring. The affair procedes with a Martino original called "Progression" in essence it's a duet between Kevin Eubanks on acoustic and Martino again, on the electric. Eubanks is mixed behind Martino's over the top electric. A fairly nondescript outing with Eubanks mainly comping in the background. These two guitar greats take on the chemistry of oil and water on this cut. The styles are so distinctly opposite and the listener feels that these two are off in different directions. A forgettable tune nonetheless. "I'm Confessin'" is an effective and low key effort between Pat and Les Paul. One tune with acoustic guitarist Micheal Hedges is pleasant but Hedges remains fairly low in the mix. "Ellipsis" is a totally negligible duet between Martino and rock guitar great Joe Satriani. Satriani is in the wrong neighborhood and the song never gets off the ground. These guys sounded as though they didn't want to be there but perhaps the producer's thought it was a novel approach? Satriani opens with some heavy metal type distortion than Martino enters with his his "as expected" single note runs at this juncture Satriani reduces his playing to remedial comping in the background. This is a disaster! A huge mistake. Satriani is a gifted stylist in his own right but had no business being here. Perhaps 2 or 3 days in the studio may have produced something more meaningful but I seriously doubt it. Things proceed with Martino backing Cassandra Wilson's vocal rendition of Joni Mitchell's "Both Sides Now". Two more cuts in a quartet setting with "chops of doom" guitarist Mike Stern. "Ayako" is a Martino original and along with Stern there finally seems to be a hint of chemistry in the air. The best cut on the CD, "Outrider" again features Stern along with drummer Ben Perowsky and Scott Colley on bass. This is a fast paced cut. Martino and Stern proceed at a blistering pace. Things finally get moving and we've reached the second to last tune on the entire CD. The final cut is another abysmal duet with Satriani.

Let's hope that Pat Martino enjoys a longstanding and prosperous relationship with Blue Note. He's one of the great guitarists of our time. Unfortunately, he's not off to a good start with this poorly produced and unadventurous recording. Martino doesn't blend very well with an onslaught of guitar heroes. His voice is too distinctive on the instrument. ~Glenn Astarita

Pat Martino: guitar; Tuck Andress: guitar; Les Paul: guitar; Joe Satriani: guitar; Mike Stern: guitar; Charlie Hunter: guitar; Cassandra Wilson: vocal; and various support. Recording Date: June 1, 1996 - January 15, 1997

All Sides Now

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The Dionne Farris Charlie Hunter Duo - DionneDionne

Size: 79,0 MB
Time: 34:00
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Soul/R&B Vocals
Art: Front

01. Alfie (3:26)
02. Walk The Way You Talk (3:07)
03. Always Something There To Remind Me (4:12)
04. Don't Make Me Over (4:50)
05. Wives And Lovers (4:21)
06. Loneliness Remember (2:02)
07. Deja Vu (4:11)
08. Walk On By (3:44)
09. You're Gonna Need Me (4:02)

In title and concept, the new tribute album Dionne Dionne is a great gimmick. But if you've followed the career of Dionne Farris, having her record an entire album of Dionne Warwick covers isn't an obvious move, names aside. It's an idea that took root some 20 years ago: Farris met guitarist Charlie Hunter while the two were on tour as members of hip-hop groups, she with Arrested Development and he with The Disposable Heroes of Hiphoprisy.

The musicians' decision to record as a duo — Farris singing, Hunter playing his custom seven-string guitar — pays off handsomely. If you're accustomed to hearing Warwick's songs played with lush orchestration behind them, to hear everything stripped down to bare wisps of melodies and rhythms reveals nuances and highlights not always obvious in the originals. Another pair might have been tempted to fill in all that open space with endless runs or virtuoso solos, but Hunter and Farris keep things smartly sparse and seductively intimate.

Not surprisingly, most of the songs are from Warwick's popular '60s catalog of Burt Bacharach and Hal David tunes, but the album also dips into her 1970s soul records, when she worked with such R&B songwriters as Isaac Hayes and the power trio of Holland-Dozier-Holland. Farris and Hunter tackle the latter's 1973 song "You're Gonna Need Me" with a subtle, funky touch serving as a reminder that both guitarist and singer began their careers in hip-hop.

If I have any complaint about the album, it's that nine tracks feels too short, least of all for an artist whose output was as prolific as Warwick's. Maybe there will be a second volume down the road, or maybe the duo can work on a tribute album to country star Charley Pride next and call it Charley Charlie. All jokes aside, part of what makes Dionne Dionne so enjoyable is how Farris and Hunter take this potential pun and turn it into something richer — but still fun.

DionneDionne

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Charlie Hunter - Steady Groovin'

Bitrate: 320K/s
Time: 73:42
Size: 168.7 MB
Styles: Guitar jazz
Year: 2005
Art: Front

[7:54] 1. Run For It
[5:58] 2. Rhythm Music Rides Again
[4:53] 3. Greasy Granny
[4:50] 4. Mean Streak
[6:30] 5. Nothin' But Trouble
[5:37] 6. Lively Up Yourself
[7:46] 7. The Shango Pt. III
[6:08] 8. Enter The Dragon
[5:35] 9. Two For Bleu
[6:28] 10. The Spin Seekers
[5:15] 11. Ashby Man
[6:42] 12. Fistful Of Haggis

Charlie Hunter turned in his last album for Blue Note, Songs From the Analog Playground in 2001 before moving over to Ropeadope. Several years down the line, the time seemed right for Blue Note to reinvigorate sales with Steady Groovin', a collection taken from Hunter's seven albums recorded for the label. With no real "hits" to speak of, the task simply became one of highlighting Hunter's phenomenal playing in the variety of settings he's recorded in, from a duo setting to a seven-piece band. While the choices may be arbitrary, compilation producer Eliott Wolf has done a fine job of selecting tunes that fit the title bill. He also wisely stayed away from the collaborative elements of Songs From the Analog Playground, where a number of vocalists joined the band, thereby keeping the focus squarely on Hunter. The non-chronological sequencing was a good choice, too: Steady Groovin' plays like an album, not just a collection of tunes, despite the changing lineups on nearly every track. Charlie Hunter is the undisputed king of the eight-string guitar, maintaining funky basslines while simultaneously playing leads or comping, and his technique is mind-boggling. But Hunter is about much more than technique: he's an agile improviser with an ear for great tone, and always has excellent players alongside him in order to make great music, not to show off. Steady Groovin' makes for an excellent introduction to the music of Charlie Hunter, but will probably just whet the appetite for more. ~Sean Westergaard

Steady Groovin'                 

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Charlie Hunter & Scott Amendola - The Cars EP (Bonus Version)

Size: 58,4 MB
Time: 25:23
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Guitar
Art: Front

01. Bye Bye Love (5:40)
02. Candy O (3:39)
03. Double Life (3:25)
04. Good Times Roll (4:36)
05. Let’s Go (3:33)
06. You Got To Move (Bonus Track) (4:27)

Over the next four months Hunter and Amendola are releasing four 5-track EPs, each focusing on the music of a particular artist or act. The project opens with ingenious distillations of Duke Ellington/Billy Strayhorn gems such as “Rockin’ In Rhythm,” “Daydream” and “Mood Indigo.” From Cole Porter’s songbook, they interpret standards, including “Too Darn Hot,” “Every Time We Say Goodbye” and “Anything Goes.” Country music and jazz are often cast as antithetical styles, but the truth is far more complicated. For Hunter and Amendola, a great song is simply a great song, and they find plenty of grist for improvisation in Hank Williams’ classics like “Cold Cold Heart,” and “Ramblin’ Man.” They find fertile ground even further afield from typical jazz fare in the music of new wave rockers The Cars, digging into hits like “Candy-O,” and “Let’s Go.” “The idea is to do these four and see how people respond,” Hunter says. “We started thinking why do we keep making 10-song CDs. I don’t necessarily want to do 10 Hank Williams songs, but five can work well. As long as the song is good we can put it through the mill, like what we did with T.J. Kirk and the Bob Marley album I made.

The Cars EP

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