The fact that Darrell Nulisch was nominated for a W.C. Handy Award does mean something in the blues world. Times Like These does make a person wonder why, though. While it's true that Nulisch's voice is deeply expressive and rings loud and clear in the way Joe Turner's did — albeit much smoother in delivery — and he's a more than adequate harp player, the material here is generic at best.
As a vocalist for hire, Texas born Darrell Nulisch has worked with the likes of Otis Grand, Anson Funderburgh, James Cotton, and Ronnie Earl, lending his gritty honeyed voice to a variety of blues styles……..
An air of inquiry suffuses Laura Marling's third album, a mood of experimentation as cerebral as it is playful. Opening song The Muse is like nothing she has released before: swaggering and brassy, with her voice pulling angular shapes across saloon-jazz piano and tight brush drums. Salinas and Rest in the Bed are like miniature western movies, with spit and sawdust in the guitar and banjo lines, melodrama in the backing vocals and Marling squinting at a relentless sun as her characters glare fate in the face. As on last year's I Speak Because I Can, Marling can sound curiously dispassionate, slurring the chorus of Don't Ask Me Why, maintaining a studied cool at the start of Sophia as she murmurs: "Where I have been lately is no concern of yours." But when Sophia unfurls into a glowing country romp, the distance between her and us suddenly shrinks – and the feeling is exhilarating.
With ensemble vocal jazz, the danger is always that tight and complex harmony writing will come across as too smooth and too sweet – for some reason, chords that sound sharp and bracing when distributed among reed instruments can sound cloying and overly slick when sung by human voices. The vocal/instrumental quartet New York Voices don't avoid that trap entirely on their latest album (and their first as an ensemble in seven years), but they continue to demonstrate their mastery of the genre with a solid program of new and old songs and innovative arrangements. Their take on "Darn That Dream" is startlingly new (and features a fine bass clarinet solo by Bob Mintzer), and the lyrics that group members added to John Coltrane's "Moment's Notice" work very nicely. Not everyone will agree that the world needed a vocal jazz version of Laura Nyro's "Stoned Soul Picnic," but the New York Voices' version is really lots of fun and is sure to bring a nostalgic tear to more than one baby-boomer eye. Apart from a couple of saccharine moments on "In the Wee Small Hours of the Morning," A Day Like This is a pleasure from start to finish. Recommended.
I Am What I Am is an album by American country music artist George Jones released in 1980 on Epic Records label. It was rereleased on July 4, 2000 with bonus tracks on the Legacy Recordings label.
These days, every band seems eager to honor the anniversary of one of its landmark albums, usually in the form of a concert tour or an expanded reissue, and even Yo La Tengo have gotten into the act – a quarter century after they released their endlessly charming 1990 LP Fakebook, in which they covered a handful of their favorite songs and reworked a few of their own numbers in semi-acoustic fashion, YLT have recorded what amounts to a sequel, 2015's Stuff Like That There. Just like a sequel to a 1980s horror movie, Stuff Like That There follows the template of the original as closely as possible – there are two new songs, three remakes from the YLT back catalog, and nine covers, which range from the instantly recognizable (Hank Williams' "I'm So Lonesome I Could Cry," inspired by Al Green's version) to the thoroughly obscure (unless you're a Hoboken pop obsessive or a James McNew completist, "Automatic Doom" by the Special Pillows is probably not on your hit parade).