Thomas Lee

After his immigration to the west in 1991, Giya Kancheli abandoned the expansive, symphonic approach he had cultivated during his years in Georgia, and opted instead to compose music for smaller, more manageable ensembles. The works on this ECM New Series disc reflect Kancheli's changed course and his simplified, if still wide-ranging, palette. Diplipito is a cryptic term, coined by poet Joseph Brodsky to mean "my work of silence, my mute creation," and Kancheli uses it to suggest a neutral state between expression and meaninglessness, implied in the singer's indistinguishable words and the cello's vaguely articulated lines.

Small Town presents guitarist Bill Frisell and bassist Thomas Morgan in a program of duets, the poetic chemistry of their playing captured live at New York s hallowed Village Vanguard. Small Town sees Frisell and Morgan pay homage to jazz elder Lee Konitz with his Subconscious Lee, and there are several country/blues-accented Frisell originals, including the hauntingly melodic title track. The duo caps the set with an inimitable treatment of John Barry's famous James Bond theme Goldfinger.

On reflection, it's no wonder that so many artists were available for Total Lee: The Songs of Lee Hazlewood. Hazlewood occupies a position in posterity similar to that of the Velvet Underground–ignored by the world at large, but disproportionately adored by fellow musicians. Hazlewood's only glimpse of popular appeal occurred when Nancy Sinatra had a worldwide hit with his "These Boots Are Made For Walking"–a karaoke standard ignored by the 16 artists who appear on this tribute album. What is startling about this fine collection is that a lot of the artists here seem endearingly unable to separate their admiration for Hazlewood's songs from Hazlewood's myth: for most young men who've ever picked up a guitar, Hazlewood's life of meandering from town to town, girl to girl, bottle to bottle, has a certain aspirational quality, and may be the reason why every male artist on this album finds himself, consciously or not, adopting Hazlewood's signature consumptive drawl: The Webb Brothers, Jarvis Cocker and Richard Hawley, Calexico and Erlend Oye are more impersonation than interpretation, but nonetheless engaging.

Big Charlie Thomas was one of many cornetists who recorded as sideman and accompanist during the 1920s, and have since drifted to the margins of jazz history. Like Ed Allen, he worked in groups that often had something or other to do with pianist and music publisher Clarence Williams. If Thomas' brief recording career is mapped out in discographical relief, the details are sketchy but fascinating. During the years 1925-1926 he is believed to have recorded with vocalists Rosa Henderson, Bessie Brown, Sara Martin, Mandy Lee, and Clarence Williams' wife Eva Taylor. In addition to various backing units, he blew his horn with the Dixie Washboard Band, the OKeh Melody Stars, Thomas Morris & His Seven Hot Babies, Buddy Christian's Jazz Rippers, and of course Clarence Williams' Blue Five. His involvement with this last ensemble places Thomas in the same circle as Morris, Sidney Bechet, and Louis Armstrong. So elusive are the recordings of Big Charlie Thomas that were it not for an album of rarities assembled and released during the '90s by the Timeless label, it would be difficult to access his legacy at all.

Ladies and gentlemen, scoot over, there is something fiery in the world of blues, bursting into flames, and sooner or later we’ll all be catching. But do not be fooled, JLH know their way around the field, from the drums to the vocals, it is all quality that only years of experience can provide. Not only does Jane Lee Hooker take on classics, they’ve been influenced by the greatest in Blues and with its debut album, the band flaunts it hitting all the right notes. A badass punk rock sound, with the smoothness of blues, the five member group has it all, bringing an old school vibe that is nothing but refreshing for the blues rock scene. These New Yorkers are making noise, and it will just get louder, hence the ! in No B! Jane Lee Hooker takes on classics like “Mannish Boy” by Muddy Waters, one of its biggest influences, while staying loyal to the original version. The group’s style is still palpable; just the same when it comes to her its take on traditional songs. “Wade in the Water” was given a killer guitar riff halfway through, and “Didn’t it Rain” has a very particular sound, the old and the new mixed and matched.

Produced by Hooker's slide guitarist Roy Rogers–who knows what's right for him–this is Hooker's best 1990s effort. Rogers guides him through arrangements that recapture his past glories ("Boom Boom," with guest Jimmie Vaughan), sets him up for a giddy jam with the late Telecaster master Albert Collins ("Boogie at Russian Hill"), and teams him with Charlie Musselwhite for the guitar-voice-harmonica duet "Thought I Heard"–a performance as sad and eerie as disembodied moans in a Delta graveyard. There's also Hooker's first recorded performance on National steel guitar, the solo "Hittin' the Bottle Again". This album gets right to the heart of Hooker's music and stays there. A blues-lover's delight.

Ghostyhead finds Rickie Lee Jones in the odd position of following a younger generation, as its languid trip-hop beats suggest that she has been listening to Portishead, Tricky, and Beth Orton. It is certainly a precarious situation, since she could seem out of touch and old-fashioned, but it is a makeover she pulls off surprisingly well…