Edgy Focus and Tunefulness From All-Female Jazz Supergroup Lioness

Lioness are the perpetually swinging Posi-Tone Records‘ all-female supergroup. It’s unusual for any of the few remaining record labels, such as they exist at all in 2019, to be championing women, let alone women in jazz. But Posi-Tone has an enviable track record of doing just that, including a bunch of recordings by Alexa Tarantino, Amanda Monaco, Lauren Sevian – all three of them members of Lioness – and several others. The sextet got their start during a Flushing Town Hall residency by Monaco; their debut album Pride and Joy is streaming at their music page. The rest of the group includes tenor saxophonist Jenny Hill, organist Akiko Tsuruga and the increasingly ubiquitous Allison Miller on drums.

Sevian, Tarantino and Jenny Hill team up for some jaunty go-go blues in the album’s catchy opening number, Mad Time, by Miller. Hill’s composition Sunny Day Pal is a balmy cha-cha, its summery sonics enhanced by the organ in tandem with Monaco’s lingering, purposeful guitar. Jelly, written by Monaco and her sister, has Miller swinging leisurely behind its tight stroll and warmly bluesy horns, a neat trick.

Down For the Count. a Sevian tune, is full of surprise tempo and thematic shifts, the composer’s baritone sax bobbing and weaving and then handing off to Tarantino’s blithe alto. The covers here are all written by women as well. Melba Liston’s punchy You Don’t Say, from 1958 is reharmonized for three saxes instead of the original trombones, a carefree shuffle with solos all around. The group’s take of Aretha’s Think is even shorter than the original and makes you think about what it actually is before the group hit the chorus head-on. Ida Lupino, by Carla Bley, has a delectably allusive, sparse interweave of voices over Miller’s steady beat.

The simmering take of Meilana Gillard’s Ethiopian-tinged Identity is the strongest of the covers, a long launching pad for Sevian to take flight. Monaco clusters and spirals around the wistful Mocha Spice, by one of the alltime great postbop guitarists, the late Emily Remler. Tarantino’s briskly shuffling Hurry Up and Wait is the album’s high point, Sevian grittily unveiling the song’s bluesy architecture.

Hill glistens and flutters as Sweety, a syncopated soul number by Monaco, gets underway. Tsuruga is represented here by the album’s final and most epic cut, Funky Girl, a sly Jimmy Smith-style swing tune with more blustery horns than he typically worked with on an album date, along with a gritty Monaco solo. It’s a clinic in tight, thoughtful playing; no wasted notes, something as rare in jazz as all-female supergroups.

Lioness are at 55 Bar tomorrow night, July 27 starting at 6 PM.

Album of the Day 7/6/11

Some of you are probably wondering what the hell is up with this blog. Answer: we’re back from a whirlwind week in Canada and scrambling to catch up. Job one is to bring our July/August NYC live music calendar up to snuff: we’re about halfway there as of today. More stuff for the rest of the world coming momentarily: skaragga, punk rock, bluegrass and jazz in Halifax, and then more jazz to break up an oppressively hot afternoon in the Flatiron District back here in NYC. In the meantime, as we do every day, our 1000 best albums of all time countdown continues all the way to #1. Wednesday’s album was #573:

Emily Remler – Transitions

Emily Remler was such a proficient jazz guitarist that early in her career, she made good on a promise to learn a new Wes Montgomery song all the way through, every day. This 1983 album was where she took her talent to the next level, further establishing the warmly exploratory, insatiably curious voice that would come to define her work. At her best, she wrote songs that you can absolutely get lost in. Here drummer Rakalam Bob Moses gives her a swinging launching pad, and she gets trumpeter John D’Earth and bassist Eddie Gomez to take their game up a notch. It’s notable for her own tunes Nunca Mais, with its bittersweet latinisms along with the thoughtful title track and the psychedelic Ode to Mali. The covers are good too: the obscure Ellington tune Searchin’, a swinging version of Sam Jones’ Del Sasser and an intriguing arrangement of Keith Jarrett’s Coral. Remler undoubtedly would have gone on to even greater things had she not died of a drug overdose at 32. Here’s a random torrent via Virtuosos Guitarristas.

Top Ten Songs of the Week 6/1/09

We do this every week. You’ll see this week’s #1 song on our Best 100 songs of 2009 list at the end of December, along with maybe some of the rest of these too. This is strictly for fun – it’s Lucid Culture’s tribute to Kasey Kasem and a way to spread the word about some of the great music out there that’s too edgy for the corporate media and their imitators in the blogosphere. Every link here will take you to each individual song.

 

1. The Jazz Funeral – Goodnight (Is How I Say Goodbye)

Gentrification and greed as metaphor for the end of a relationship in this fiery janglerock masterpiece – the political as very personal. They’re at Ace of Clubs on 6/6 at 8.

 

2. Edison Woods – Praises & Scrutiny

The latest single from the forthcoming Wishbook Singles cd by the world’s best 6/8 band, lush and haunting as usual

 

3. Tessa Souter – You Don’t Have to Believe

Dark jazz siren with eerie Middle Eastern and flamenco tinges. She’s at 55 Bar at 6 on 6/12.  

 

4. Marni Rice – Priere

Noir accordionist/chanteuse. Haunting, with a string quartet. She’s at Small Beast at the Delancey on 6/25 around 10.

 

5. Black Sea Hotel – Dimjaninka

Haunting hypnotic Bulgarian folk tune arranged for four voices by Brooklyn’s own Bulgarian vocal choir. They’re at Union Pool at 9 on 6/4

 

6. Jo Williamson – Sheepish

Tuneful bittersweet and soulful, like Cat Power without the vocal pretensions.

 

7. Veveritse Brass Band – Samirov Cocek

Typically blistering Balkan madness. They’re at Union Pool on 6/4

 

8. Barbara Dennerlein with Emily Remler – Stormy Monday

Scroll down to the middle of the page for this amazing clip from German tv, 1986. Dennerlein – maybe the greatest organist of our time – is her usual amazing self but it’s the late Emily Remler’s offhandedly savage yet obviously opiated solo that makes it.

 

9. Mattison – Yver

Beautiful electric piano triphop tune, Greta Gertler meets Bee & Flower. They’re at Duck Duck, 161 Montrose btw Graham & Humboldt at 5 PM on 6/7 for Bushwick open studios.

 

10. The Courtesy Tier – Set Things Right

Blistering, noisy bluespunk from this guitar/drums duo. They’re at the Rockwood on 6/4 and the Delancey on 6/6