Lisa Matassa - Somebody's Baby

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Lisa Matassa - Somebody's Baby
2012, It Is What It Is RecordsLisa Matassa’svoice might ring a faint bell if you were a fan of dance pop back in the late1980’s.  Signed soon after she graduatedfrom high school by Emergency Records, Matassa had two top-ten dance singles underthe name Lisa Lynn.  Matassa quicklygravitated toward original rock and roll, but her label went out of businessand Matassa settled into life.  Still,she fronted a club band on Long Island for 20 years, and in 2010 found here wayto Nashville with childhood friend and producer Joey Sykes.  The EP resulting from those sessions, Me Time, blended country, pop andclassic southern rock.  Matassa continuesthat sound on her latest effort, Somebody’sBaby.

Matassa kicks things off with the powerful country/rock of "Somebody'sBaby", a message of love from mother to daughter. This is a powerful tunewith a kicking arrangement that will have your toes tapping. The momentum carriesthrough to "Wouldn't You Like To Know", a paean to the secretconversations between women out at a bar on a Saturday night. Matassa's playfulvocal and the rebellious rock and roll arrangement are a joyous match.

"Girl With A Rock N Roll Heart" finds Matassa recalling her youth andover the top tendencies. This is a feel good song about being yourself andchasing your dreams, and it’s incredibly catchy mix of classic rock and countryhas serious crossover potential. "Learning As You Grow" is a sweetsong written from mother to child that's not so much apologetic as it isrealistic about trying to good parent. Matassa's cover of Bryan Adams'"Heaven" is reverent to the original, but adds an orchestral countryaspect that seems fitting.

Even more impressive is Matassa's cover of "I Will Always Love You",combining the sweet vulnerability of Dolly Parton's original with some of thesoul and strength of the Whitney Houston cover. Matassa winds down with a solidrendition of "The Christmas Song" just in time for the holidayseason. The song has a classic sound as interpreted here, and Matassa makes ithers without making it over.

Lisa Matassa has a voice that can croon a classic or belt out a rock and rollanthem. She's like a female Garth Brooks, part country star and part rock nroll queen. Somebody's Baby has itall: Bombast, sweetness, grit and heart. Not to mention a voice that will leaveyou begin for more. Welcome to the world Lisa Matassa. Country music has beenpining for a voice like yours.

Rating: 4.5 Stars (out of 5)Learn more at www.lisamatassa.com.

Nate Kimball - Warrior's Journey

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Nate Kimball - Warrior’s Journey
2012, TNC RecordingsIf you’re looking for the next big name in jazz, youmight be very happy to settle on Nate Kimball. His list of credits is impressive: Chick Correa, Natalie Cole, BarryManilow, The Count Basie Orchestra, Jessica Simpson and The Killers, to namebut a few.  The 28-year old Las Vegasnative is more than just a wizard with the trombone however; Kimball is acomposer nonpareil who has been recognized by the International TromboneAssociation (2006, 2007, and 2010); the Reno Jazz Festival (2012); and theNevada Jazz Society (2007).  One of hiscompositions, “Side Effect”, was recently premiered at the Monterrey JazzFestival by the Las Vegas Academy Jazz Ensemble.  You’ll see why the accolades rain down onKimball after listening to his album Warrior’sJourney.  Kimball recorded Warrior’sJourney with four impressive cohorts. Joe Lano (guitar) has played with Lena Horne, Mel Tormé, Steve Lawrenceand Eydie Gorme, Nancy Wilson and Henry Mancini.  Brian Triola (piano/keys) is part of LasVegas and regional favorites Moksha. Bassist Steve Flora plays the top rooms in Las Vegas, and drummer LarryAberman has recorded with The Vaughan Brothers, Ric Ocasek, Wynton Marsalis,David Lee Roth, Daniel Lanois, Lionel Richie and Danielle Brisebois (to namejust a few).  This will give you an ideaof the quality of play on Warrior’sJourney, but mere words don’t do the album justice.Kimball sticks to classic jazz stylings, allowingthe occasional progressive wave to pass through the waters.  It’s easy to see Kimball and crew fittinginto any era of jazz from the Big Band era on. Kimball kicks things off with “Warrior’s Journey”, beginning as a sleepyrumination but moving soon into a quietly energetic jazz waltz.  Kimball’s trombone is stellar, but the restof the quintet is flawless as well.  BrianTriola adds perfect punctuation to Kimball’s lead, and whips off some amazingsolos of his own.  Perhaps the mostimpressive part of the song, however, is when Larry Aberman takes the lead ondrums.  If you want to analyze what he’sdoing you’ll need a couple of cameras and the ability to slow tape onplayback.  It’s amazing. “Way Station” shows the same sort of breakdown ofduties, with Kimball taking the lead, but passing it around for all toshare.  What’s most impressive is howseamlessly Kimball’s quintet moves together, never seeming to miss a beat or anexchange.  “Far Away” has a distinctive,melancholy, blue-jazz feel.  Kimballbrings emotions alive in the lyric trombone lines, while Brian Triola creates abit of rhythmic dissonance that helps to appropriately shade the mood.  There is magic here.  “Road To La Coruna” takes a on a subtle Latinjazz sound, and features some of the best low-key work on the album.  Things get a bit more progressive on “HelloWorld”, with Kimball himself getting aggressive in his soloing style.  Triola picks up this vibe and runs with it,getting into a Vince Guaraldi groove that’s mellow yet not.  “Back Home” is an interesting closer.  You might say the ensemble play is a bitlooser here, as Kimball et. al. look to push the boundaries with someoff-the-cuff and speed-based solos.Nate Kimball shows his worth as a composer,bandleader and musician on Warrior’sJourney.  With a killer supportingcast, and some of the best original jazz of 2012, Kimball challenges the worldof modern jazz with a traditional-leaning album that reinvigorates the art formthe way artists like Miles Davis, J.J. Johnson, Dizzy Gillespie and HarryConnick, Jr. have done before him. Thirty years from now you’ll hear jazz aficionados discussing Kimball inthe same reverent tones.Rating:4.5 Stars (Out of 5)

The Wildy's World Top-12 for 2012!

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I try to do a countdown each year of the best albums I've reviewed.  The blog hasn't been as active in 2012, as I have been working on some other things.  Nevertheless, there were some incredible albums I did get to cover this past year that deserve recognition.  So without further adieu... the Wildy's World Top-12 of 2012.

12 - RobMorsberger – Ghosts Before Breakfast
Morsberger is stunningly personal, and prophetic, in an album that exploresmortality, legacy and all the emotions that swirl around these twoconcepts.  Written before Morsberger’sdiagnosis with terminal brain cancer, GhostsBefore Breakfast transcends humanity and every day experience for simpletruths on deep and dark thoughts.
11 – Maraand the Bitter Suite – Unspoken
An actress/Broadway singer and a composer/musical director venturing intoalt/folk/rock would generally be an omen for disaster, but Mara and the BitterSuite find a bit of magic in Unspoken.
10 – MeghanCary – Building This House
Eight years might seem like too long to produce an album of songs, but forMeghan Cary it was apparently just right. Highly personal and evocative, Cary takes a craftsman’s approach to storytelling,weaving each scene and story to perfection against minimal yet strikingarrangements for a listening experience you won’t soon forget.
9 – TheHollyfelds – Title Stealers
The Hollyfelds might keep a low profile nationally, but they shine in theirhome market of Denver, Colorado.  Infact, they shine so bright on TitleStealers it’s hard to imagine them staying just a regional band.
8 – SethGlier – Things I Should Let You Know
Seth Glier’s first album earned him a GRAMMY nomination.  His second, Things I Should Let You Know, is even better.  Glier is more nuanced and personal than ever,and maintains the intense musicality that has always made him such anintriguing listen.
7 – NateKimball – Warrior’s Journey
By far one of the best collections of classically oriented original jazzhave ever heard.
6. JodiShaw – In Waterland
Jodi Shaw writes from the heart and lays it all on the line.  She lays out her stories and characters inwonderfully robust and ethereal musical arrangements.  The imagery peppered throughout In Waterland is nothing short ofbrilliant.
5. TheDo Good Assassins – Rome
The Do Good Assassins are the latest outgrowth of Ron Hawkins’ personalmuse. This time out he is helped and supported by good friends in creating oneof the best and most divergent double albums of the last several years.  Personal songwriting, amazing lyrics and anorganic feel make this a can’t miss listen.
4. CaraLuft – Darlingford
Cara Luft is one of the darlings of Canadian folk music.  A former Wailin’ Jenny and Juno Awardnominee, Luft delivers one of the most compelling singer/songwriter turns of2012 with Darlingford.
3. Rob Morsberger –A Part Of You
Morsberger manages two albums in the top-12.  A PartOf You is a song cycle written to Morsberger’s youngest son; a collectionof songs to see his son through the times when Morsberger anticipates not beingthere.  This intimate collection is fullof laughter, hope and the joy of discovery. There is also a hidden sadness; a melancholy of the artist who isenvisioning all that he might miss out on. This is what songwriting is all about.
2. JasonPlumb and the Willing – All Is More Than Both
Jason Plumb takes his prodigious writing/singing talents and his crack backingband (The Willing) and puts them all to work under the watchful eye of Canadiansuper-producer Michael Phillip Wojewoda. The result is Plumb’s most soaring collection of songs since his dayswith The Waltons.  In almost any otheryear this would be the winner.
1. DeltaRae – Carry The Fire
There are great albums, and then there are albums that transcend theirtime.  These are the albums that peoplelook back on two or three decades later as benchmarks of their era.  I fully believe that Carry The Fire is just such an album.  From the alternating lead vocals of Eric andBrittany Hölljesto the alternative folk-rock arrangements that soar one moment and lie downbeside you and rock you to sleep the next, CarryThe Fire is the sort of debut album that only comes along once or twice ageneration.

Red Jacket Mine - Someone Else's Cake

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Red Jacket Mine –Someone Else’s Cake
2013, Fin RecordsRed Jacket Mine is a product of disparate influences.  The Seattle based quartet hails from a cityknown for Garage Rock, Grunge and Rap, but Red Jacket Mine is crafting their ownSeattle Sound.  With lead vocalist andsongwriter Lincoln Barr calling on his Memphis roots, Red Jacket Mine walks theline between blues, soul, country and good old classic rock and roll.  The result is familiar yet fresh, full ofcatchy pop hooks and a whole lot of charm. Red Jacket Mine brings it all together on their fourth album, Someone Else’s Cake, due out February13, 2013.

Red Jacket Mine takes off with the delicious, synth-drivenpop/rock of “Amy”.  Infectious hooks ands sneaky-catchy chorus make this one a charmer and a great opening track.  “Nickel & Dine” is a catchy Americanarocker that sounds like a cross between Elvis Costello and Blue Rodeo.  Red Jacket Mine builds a wonderfully catchyvibe here while discussing the human tendency to tear down anything that worksand the clash between optimism and pessimism. “Ron Nasty” is a bit generic, but “Engineer” rocks with a bluesyattitude.  This is one of those tunes youjust can’t sit still for, and vocalist Lincoln Barr is in particularly fineform here.“Skint City” has a more melancholy feel, and carries a vocalharmony that’s reminiscent of a 1970’s Eagles record.  It’s a solid album track with a quiet swingthat’s easy on the ears.  “Listen Up (If theWorld Is Going to Hell)” pays homage to 1970’s R&B and pop styles.  Barr sounds a bit strained in small momentshere, but it’s a solid effort overall. “Novelty’s Gone” walks the line between gentle rock and country, relyingon a metronomic rhythm to drive a maudlin number about the reality of arelationship setting in.  There’s a rotefeel to this tune that carries over to the tacitly soulful “Better To Be BrokenThan Blind”.  Both tunes are solidenough, but just don’t carry much energy or conviction.

Red Jacket Mine comes fully awake for “Someone Else’s Cake”,a catchy kiss-off song of sorts.  There’sa delicious edge to this number that underscores the Americana/Countrysound.  “Have You Got A Permit To PreachOn This Corner” has more of a classic country sound, and takes to task someonewho professes their beliefs publicly. Red Jacket Mine closes with the catchy rocker “Bellar & Bawl”.  An R&B backbeat drives the song,alongside an early rock & roll piano style and a band that is clicking onall eight cylinders.  This is the perfectclose to the album, and a perfect song to close shows with as well.Red Jacket Mine certainly knows how to kick things into highgear when they want to, but SomeoneElse’s Cake shows a supple understanding of song craft that while notalways perfect in fruition, displays a distinctive understanding of melody,song structure and inspiration.  Someone Else’s Cake is a complex albumthat finds lead singer/songwriter Lincoln Barr negotiating with his own variedmusical influences with varying degrees of success.  It’s an intriguing listen from a band whopromises to keep growing and getting better with age.

Rating:  3.5 Stars (Out of 5)Learn more at www.redjacketmine.net. 

Meredith O'Connor - EP

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Meredith O'Connor – EP
2012, Meredith O’ConnorBeware thewallflower.  Meredith O’Connor never fitin.  Ostracized in school for beingdifferent, O’Connor has used her differences to become truly unique.  Singer, songwriter, model and actress, the17-year old is on a steady rise.  Herheart is in the right place too, as O’Connor still finds time to be an officialadvisor for www.reachout.com, an onlineinformation and support service for teens and young adults.  O’Connor is about to release her debut EP,featuring four original songs culled from her personal experiences andbeliefs.  It is generally a pragmatic andpositive look at the problems of a modern young adult.

O'Connor opens with "Celebrity", a straight up, candy coated kiss offsong about making it big and rubbing it in the face of the one who dropped her.There's almost a country sensibility here, but the synth affirms the song'sbubblegum pedigree. "14 Miles" finds O'Connor warning her crush thathis girlfriend is going to hit the road. There is a good intent feel to this,but there's an obvious conflict of interest. The arrangement is straight aheadand solid. "Face That's Perfect" is an uncomplicated yet edgy popcrush song. O'Connor displays a keen pop sensibility here that's part BelindaCarlisle. "The Game" is an odd song of belief in another. It startsoff steeped in singer/songwriter pastiche but moves into a chorus that soundslike it was inspired by Debbie Boone. It's an unsettled sound that doesn'tquite fit O'Connor's voice.

Meredith O'Connor is an intriguing young artist. Her bound wire alto voice ispleasant but with a steely edge. As a songwriter O'Connor shows her young age.She has yet to find her voice as a writer, and is still playing musical dressup to find which style and sound fits her. There's little doubt, however, thatshe has the potential to be an impact artist one day.Rating: 3.5 Stars (Out of 5)Learn more atwww.meredithoconnorhome.com. 

Eric EQ Young - Just 4 You

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Eric EQ Young - Just ForYou                         
2012, Eric Young

Eric EQ Young was born to make music. The singer, songwriter and bassist fromthe San Fran Cisco Bay Area has been playing the big time for two decades now.A Quincy Jones recording artist, Young has affiliations with The Dazz Band andRadiance, but is perhaps best known as the bassist for Con Funk Shun. Youngsteps out on front with the release of his solo EP, Just For You. Don't worryCon Funk Shun fans; the band is also planning a new release with Young firmlyin the fold.

Young kicks things into gear with the sensuous, slow funk of "Why YouFunkin'". This is great stuff if you're dancing, even if the incessantlyrepeated lyrical loop is a bit overdone. "Dance With Me" has a muchfresher feel, recalling Lethe energy and vitality of Michael Jackson in his 1980'sprime. "Ooh Baby Yeah" heads for the sensual slow jam territory,leaving any sense of subtlety or panache dangling at the door. The arrangementis well constructed and flows like pure poetry.

Young heads back to the dance floor with the vibrant pop/funk groove of"Let's Ride". There's an ultra-cool feel here reminiscent of DeBarge,and Young is absolutely lethal on the bass guitar. "Never StopLoving" is repetitive and trite, lyrically, but builds its sound onmajestic vocal triads that help the song to soar in spite of unimaginativelyric-craft. Young settles in for the night with "Just 4 You", a purepiece of 1980s radio-friendly R&B/pop. Jazz triads in the vocal harmoniesgive this a classic sound, and the groove is as solid as anything you'll find onpop/urban radio nowadays.Eric Young brings the noise and the funk on Just For You, as well as a little bit ofgood old fashioned musical joy.  Youngwears his influences well, but makes them sound fresh and exciting rather thandated and old.  Twenty years into a greatcareer, Eric Young just can’t sit still. When listening to Just For You,you won’t be able to either.

Rating: 4 Stars (Out of 5)Learn more at www.ericeqyoung.com. 

Lisa Matassa - Somebody's Baby

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Lisa Matassa - Somebody's Baby
2012, It Is What It Is RecordsLisa Matassa’svoice might ring a faint bell if you were a fan of dance pop back in the late1980’s.  Signed soon after she graduatedfrom high school by Emergency Records, Matassa had two top-ten dance singles underthe name Lisa Lynn.  Matassa quicklygravitated toward original rock and roll, but her label went out of businessand Matassa settled into life.  Still,she fronted a club band on Long Island for 20 years, and in 2010 found here wayto Nashville with childhood friend and producer Joey Sykes.  The EP resulting from those sessions, Me Time, blended country, pop andclassic southern rock.  Matassa continuesthat sound on her latest effort, Somebody’sBaby.

Matassa kicks things off with the powerful country/rock of "Somebody'sBaby", a message of love from mother to daughter. This is a powerful tunewith a kicking arrangement that will have your toes tapping. The momentum carriesthrough to "Wouldn't You Like To Know", a paean to the secretconversations between women out at a bar on a Saturday night. Matassa's playfulvocal and the rebellious rock and roll arrangement are a joyous match.

"Girl With A Rock N Roll Heart" finds Matassa recalling her youth andover the top tendencies. This is a feel good song about being yourself andchasing your dreams, and it’s incredibly catchy mix of classic rock and countryhas serious crossover potential. "Learning As You Grow" is a sweetsong written from mother to child that's not so much apologetic as it isrealistic about trying to good parent. Matassa's cover of Bryan Adams'"Heaven" is reverent to the original, but adds an orchestral countryaspect that seems fitting.

Even more impressive is Matassa's cover of "I Will Always Love You",combining the sweet vulnerability of Dolly Parton's original with some of thesoul and strength of the Whitney Houston cover. Matassa winds down with a solidrendition of "The Christmas Song" just in time for the holidayseason. The song has a classic sound as interpreted here, and Matassa makes ithers without making it over.

Lisa Matassa has a voice that can croon a classic or belt out a rock and rollanthem. She's like a female Garth Brooks, part country star and part rock nroll queen. Somebody's Baby has itall: Bombast, sweetness, grit and heart. Not to mention a voice that will leaveyou begin for more. Welcome to the world Lisa Matassa. Country music has beenpining for a voice like yours.

Rating: 4.5 Stars (out of 5)Learn more at www.lisamatassa.com.