Marilyn Maye
Maye Sings Ray

Personnel: Marilyn Maye, vocals; Billy Stritch, organ/piano; Everette DeVan, organ; Gerald Spaits, bass; Jim Eklof, drums; Todd Strait, drums; Rod Fleeman, guitars; Danny Embrey, guitar, guitar synthesizer; Matt Hopper, guitar; Hal Melia, saxophones, flute; Maye-ettes: Hal Melia & Billy Stritch

Tracks: Let the Good Times Roll; Hallelujah, I Love Him So (I'm Lovin' Ray); Georgia; Hit the Road Jack; You Don't Know Me; Just For a Thrill; I Can't Stop Loving You; Am I Blue; Don't Set Me Free; I'm Busted; Born to Lose/Cryin' Time; Bye Bye Love; Cry; Your Cheatin' Heart; Come Rain or Come Shine; Let the Good Times Roll reprise

Tracks 1, 16: DeVan, Strait, Fleeman, Hopper; Tracks 2,10: Stritch, Spaits, Eklof, Fleeman; Track 3: Stritch, Spaits, Eklof, Embrey, Fleeman; Tracks 4, 6, 9, 13, 14: Stritch, Spaits, Eklof, Melia, Fleeman; Track 5: Stritch; Track 7: Stritch, Spaits, Eklof, Embrey, Fleeman; Track 8: Stritch, Spaits, Eklof, Melia, Fleeman; Tracks 11, 12: Stritch (piano & vocals), Spaits, Eklof, Fleeman; Track 15: Stritch, Spaits, Eklof, Melia; All tracks: Marilyn Maye, vocals; Track 4: the Maye-ettes

Sophisticated jazzers have always acknowledged her exceptional talent, intelligence, personality and endurance, but Marilyn Maye is enjoying renewed success by forging a tribute-ary of sorts – saluting Sinatra, Johnny Carson, and now Ray Charles. This is a feel-good endeavor if ever one was; an omnipresent joie-de-vivre prevails as she and her fun-loving group celebrate the larger-than-life Soulman.

Conjure up Maye's “I'm a Woman” and you'll have the attitude infusing opener “Let the Good Times Roll,” its tempo laying hedonistically beneath her playful, persuasive phrasing. A full chorus of Maye-penned lyrics introduces “Hallelujah, I Love Him So (I'm Lovin' Ray)”

Let me tell you ‘bout a guy I know
He's Ray Charles, and I love him so

As with all cuts, the fit and feel are perfect. You'll clap along with drummer Jim Eklof at the break, “there he is, bam bam bam BAM, at my door!”

Marilyn and her eloquent accompanist, Billy Stritch, usher (lush-er) in “Georgia” with a rubato chorus. How many young jazz singers know the meaning of the word, much less how to pull it off? You won't believe the “harmonica” solo here: it's guitarist Danny Embrey's new synthesizer. You'll swear he's channeled Toots. A sassy “Hit the Road, Jack” follows, complete with the Maye-ettes (male-ettes) AKA Stritch and Hal Melia, whose “what you say?!” accents are a riot. Hal's overdubbed reed riffs and solo are appropriately camp.

Featuring piano and voice only, a bittersweet “You Don't Know Me” again underscores Maye's free-phrase proficiency. You'll be tempted to hold your breath so as not to break the spell. Slow dance to “Just For a Thrill,” a laid back classic stylistically unique because of Marilyn's unmistakable adaptation – the alternating front and back phrasing, glissandi, grace notes, sustained tones – and if that weren't enough there's Melia's gentle, sentimental, era-appropriate tenor solo…time travel at its best.

“I Can't Stop Loving You,” a Maye-Stritch duet, too cute to be corny, houses another crafty Embry un-harmonica solo, a syncopated Stritch stretch, and a (what else?) great Spaits interlude. Feel free to sing along with the three-peat ending. The elegant piano/vocal intro to “Am I Blue” glides slowly into a subtle, sexy imploration, Maye always pitch perfect with breath most athletes would envy, executing octave leaps effortlessly. The icing? Melia's brief but mellisonant flute poem.

A barrelhouse-y “Don't Set Me Free” ranks right up there with my favorite cuts. M.M. aces the intervals and Melia's yakkity sax kills. Longtime Colony fans will enjoy hearing “I'm Busted” again, although there are some smart new adult lyrics to enjoy. Pay special attention to the tag. Marilyn's “Born to Lose” is slightly high-brow, that is until she and Billy segue into “Cryin' Time,” a tongue-in-chaw approbation to the country jazz style Ray originated.

Inequitable as it may be to single out one amongst these superlative sidemen, Rod Fleeman's facility…versatility…intuition deserve special recognition. He plays lead and rhythm guitars and delivers the goods whatever the call. “…Blue,” “…Free,” “Hallelujah…,” “Busted,” etc. – he lives in Maye's brain. (It sounds like he enjoys his digs.)

A beautifully understated, tasty, technique-thrilling vocal, “Cry” dissolves into Melia's gorgeous tenor. This reedsman has mastered every sound…every style; he IS the song, inside out. Some might be tempted to corny up “Your Cheatin' Heart,” but the Maye Company demonstrates that it can be a very hip little number – triplets, sax punches behind the bridge, and stop time moments notwithstanding.

“Come Rain or Come Shine” works as a jazz waltz, this one featuring Melia's graceful flute. Maye sings Maye here and it's great. “America” follows, essentially wrapping up this amazing disc, although there's a 20-second reprise of “Let the Good Times Roll.”

Huzzah to Ray, Maye, Play(ers), Lay(ers)…Ron Ubel and Soundtrek staff…and the wise among you who will pay for this most worthwhile offering. (Any bets on who might be the next honoree?)

Carol Comer

The Kansas City Jazz Orchestra
Take One

Personnel: Woodwinds – Bob Long, as, fl; Gregg Briggs, as, fl; Doug Talley, ts, ss, fl; Chael. Ts, fl; Kerry Strayer, bs ,fl. Trumpets/Flugelhorns – Steve Molloy, Bob Harvey, Jay Sollenberger, Stan Kessler. Trombones -- Jeff Hamer, Paul McKee, Stephanie Cox, Lee Hill Kavanaugh. Rhythm – Charles Williams, piano; Ron Fleeman, guitar; Theodore Wilson, bass. Special Guests: Harold Jones, drums; Lisa Henry, vocals. Leader, alto sax: Jim Mair.

Tracks: Vine Street Rumble; I Just Found Out About Love (voc); Take the A Train; Michelle; We'll Be Together Again (voc); Cute; Jenny; You Make Me Feel So Young (voc); Tee Pee Time; Corner Pocket; Come Sunday; One O'Clock Jump.

Producer: Jim Mair. Recorded and mixed at Soundtrek Studios, Kansas City , MO. Engineer: Ron Ubel.

Relax and enjoy this debut CD by The KCJO. Here comes a rave review. You need only be sure to hear this sprightly, seriously swinging session, and then decide if my rave is for the right reasons.

The Kansas City Jazz Orchestra (they insist on the definite article) aims to be permanently in the Heartland “ to preserve, nurture and encourage the appreciation” of America 's classical music. They've staked a strong claim to doing just that in the last couple of years of well-received concerts, and now with this elegant recording. It really was “take one,” done the morning after their most recent Unity Temple concert. They laid down the twelve tracks in just one session.

The musical menu combines classic arrangements by big names (such as Ernie Wilkins and Neil Hefti), sprightly or silken solos and section work as needed, steered firmly throughout by leader-producer Jim Mair. The recorded sound was made clean and bright by sequestering the rhythm section from the rest of the band for better balance, and by overdubbing the elegant vocals of special guest Lisa Henry.

Contributions from another special guest, Harold Jones, seem to me to move this recording from merely marvelous to memorable. Through his years with of the Basie band, his sound and style were propulsive and uplifting. His work with The KCGO shows what a lift comes from the right fit among the right arrangements, the ensemble's and soloists' sound, and the percussionist's style and experience. Here, Harold and the rest of the rhythm section provide that Basie combination of power and float -- on top of the beat, yet in perfect time, propulsive yet caressing.

Not surprisingly, this good fit is most evident on the several tunes with a Basie pedigree. My favorite is the opening track, Vine Street Rumble, from the Kansas City Suite, composed by Benny Carter for the Basie band. Throughout there are fine turns by soloists from every section. I'm partial to Jim Mair's alto on A Train, in a Wilkins arrangement that sounds crisp and current, though this chart was first heard from Clark Terry's Big Bad Band of a generation ago. You'll also go for Doug Talley's booting tenor, and Stan Kessler's tasty trumpet, such as on Tee Pee Time, where the whole band stretches out nicely. Yes, this is a rave review. These are some of the reasons why. Keep at it, KCGO!

Charlton Price

Ken Lovern's OJT (Organ Jazz Trio)
Jazz Daddy
Jazz Daddy Records-2005
Personnel: Tracks 1, 2, 4, 8, 9, 12, 13: Ken Lovern, Hammond Organ; Brian Baggett, Guitar; Kevin Frazee, Drums.

Tracks 3, 5, 7: Ken Lovern, Hammond Organ; Brian Baggett, Guitar; Todd Strait, Drums; Stan Kessler, Trumpet and Flugelhorn.

Tracks 6, 10, 11: Ken Lovern, Hammond Organ; Brian Baggett, Guitar; Todd Strait, Drums.

Tracks: OJT Theme (Intro); Swirlies; Someday My Prince Will Come; Yuma Green; It's All Good; Polka Dots and Moonbeams; 7 Sticks; OJT Theme (Reprise); Billie Jean; Invitation; All Ice Blues; Big Cheese; OJT Theme (Full Theme).

Tracks recorded 2005, Premier Studios, Lenexa, KS. Engineer: Sam Platt. Mastered by Richard Dodd.

From Charlie Parker to Michael Jackson, Ken Lovern's Organ Jazz Trio's Jazz Daddy gives listeners a new spin on jazz. This recording is steeped in traditional organ jazz but with a few new kicks and riffs from the recent past plus some tracks of Ken's own thrown in. To top it all off Ken Lovern's OJT recording Jazz Daddy features some of Kansas City's finest musicians.

Typically organ jazz is accompanied by guitar and drums, which we get here from Brian Baggett and a flip-flop share from Todd Strait and Kevin Frazee, with guest appearances by horn players, like Stan Kessler and his trumpet and flugelhorn. Individually, each artist brings their instruments to life but together with Lovern and his mighty Hammond B-3, the ensemble brings itself through your speakers and plays a jam session right in your living room.

We get an introduction to the disc in the first track “OJT Theme (Intro)”. Lovern has done something unique here. He's inserted a portion of a track at the very beginning of the disc. A little later on, in the eighth track we get a little bit more and then finally on the thirteenth and final track we get ambushed with the entire “OJT Theme”. The song, on any of its three appearances, has a little bit of James Brown kick to it. The way Lovern has styled the intermittent breaks in the flow of the disc with the repeated use of his “OJT Theme” brings the listener into a live performance.

Following the brief introduction is “Swirlies”. This track has a touch of old-school funk to it. The transition to Baggett's guitar solo alone has to be heard. “Someday My Prince Will Come” takes us back in time a bit. However, OJT gives the classic jazz standard a 3/4 beat and tosses in its own intro and outro to make the song theirs.

While not a classic yet, “Yuma Green” was composed by Lovern in honor of one of the great 1960s jazz organ trios: Larry Young, Grant Green and Elvin Jones. Following up is “It's All Good” with a bit of a samba beat to it sponsored by Todd Strait's drums. Influenced by Pat Metheny and Lyle Mays, Lovern composed this track in the “Midwestern Jazz” style. Lending a perfect solo to the composition is Stan Kessler who also joins in to double the melody.

Track six takes the listener back once more with “Polka Dots and Moonbeams”. This romantic ballad is a standard among many jazz musicians. You can tell that it is definitely one of Ken's favorites as well. OJT follows up traditional with the original “7-Sticks”. This is my favorite track on the disc. The odd meter of the track takes the listener on a journey. It's almost dark and mysterious in its rhythm. The tune starts out with an 8 beat/7 beat alternating phrase. It flirts a few times with 4/4 and then returns to the original 15/4 groove and then finally busts out in the end with a 5/4. Each section contains different harmonies and melody materials and Baggett's guitar solo...watch out.

Lovern rounds out his first “set” with a reprise of the “OJT Theme” and then we head out into 1984 with Michael Jackson's “Billie Jean”. For organ jazz lovers this should not come as a huge shock, though. It is their tradition to take pop songs and place them in an unexpected setting. OJT starts out with the original tune but quickly morphs the song into a swinging jazz harmony. While, mambo is the beat for the next track, “Invitation”, an homage to Kansas City's own Charlie “Yardbird” Parker's is the opus of the second half of the disc. OJT's “All Ice Blues” get the band jumping when they trade sixes with Strait's drums instead of the typical trading fours.

Good New Orleans funky jazz rounds out the second to last track “Big Cheese”. Numerous jazz organists employ the New Orleans back-line groove and OJT does as well. Each of the artists on the track gets to prove their worth to OJT with their solos. Finally, rounding out the disc is the full version of “OJT Theme”.

You should be exhausted by now. Go home get some sleep...right after the release party. A live performance will celebrate the CD release on Sunday, October 30 th at Jardine's from 7-10 PM. You'll be able to pick up the CD's at CD BABY, Border's, any of the trio's gigs or at www.KenLovern.com.

—Tristan Smith

Jo Ann Daugherty
Range of Motion

Personnel: Jo Ann Daugherty (piano, compositions), Ryan Bennett (drums), Lorin Cohen (bass), Larry Kohut (bass), Neal Alger (guitar), Mitch Paliga (saxophones), Tito Carillo (trumpet), Tom Garling (trombone).

Tracks: Out of Round; Oak Creek; Harold's Tune; Myrrh; WMD; Pearl; Part 4, Part 2; Still; Heading Out.

Engineered by John McCourtney and Dan Stout

Jo Ann Daugherty's second album, Range of Motion , is full of solid, melodic tunes performed by top-notch players. Daugherty, who could be found performing in Kansas City a few years ago, moved to Chicago, where she is joined by her husband, who plays drums on the album, another Kansas Citian, Ryan Bennett.

Daugherty said she was new to the business of music when she performed in Kansas City, remarking that “I was pretty green. I got a good training…in Kansas City. But I was right out of school…learning how to be a musician, while I was there—putting a life together. And I am eternally grateful for the people who played with me while I was there…It was a great place to be.”

However, since then Daugherty has moved to Chicago and started a song writing group, the Chicago Jazz Composers Collective, and she has been playing with some heavy hitting players, such as Neal Alger, Tom Garling, Tito Carillo, Mitch Paliga, who are featured on the album.

The album's first track, “Out of Round” is both complex and catchy. It moves along at a moderate pace, and the initial guitar work of Neal Alger keeps the melody interesting and bright. Daugherty follows with a measured, compelling but light response, which Bennett complements with short interludes on drums that nicely bridge that boundary between crafty comping and short soloing.

Daugherty said “Part 4, Part 2” is a tune that was inspired by a composition of Mitch Paliga's, a suite in five parts. The tune is lively, full of great motion. Lorin Cohen starts the tune with a quick riff that is slightly reminiscent of the melodic line of John Coltrane's A Love Supreme . Bennett joins on drums with some soft, sticked snare work. Carillo's trumpet work beckons and calls out, fueling the exchanges that take place in this tune. Bennett solos on the tune, building a fine melodic pallet between the high and low toms and bass drums, rolling from the toms to the bass drum tastefully, demonstrating exquisite shaping and build.

Daugherty said she wrote “Still” in order to “explore to the upper register of the bass,” aiming on this album to write for two bass players, Lorin Cohen and Larry Kohut. Kohut's driving, playful lines on the aptly named “Heading Out,” make this tune memorable, and the group's momentum make this a fine, hard grooving, energetic finale to a compelling album.

Daugherty and her group will be performing on October 22 at the Blue Room. Daugherty said, “We miss K.C.,” and talked about a sort of homesickness musicians she knows who also once called K.C. their home had one day last summer “when it was 100 degrees and humid.” They sought each other out to commiserate. So, come out and hear what her album features, and more, live. Daugherty's album and more information about the band can be found at http://www.joanndaugherty.com/ .

— Kevin Rabas

Dan Thomas Quintet
“Musical Sanctuary”

Personnel: Dan Thomas: Alto and Tenor Saxophone; Joe Parisi: Trumpet and Flugelhorn; Mike Shanks: Drums; Roger Wilder: Acoustic and Fender Rhodes Piano; Bram Wijnands:Upright Bass; Craig Akin: Upright and Electric Bass

Tracks: Toubanrut; Professor RMW, Jr.; Folktale From Far East; Expressions; Love Everlasting; Folktale From Far East 2; RSVP; Musical Sanctuary; Selflessly Assured; Musical Sanctuary-Reprise; Blues for BLT minor blues; Folktale From Far East 3; Walt's Bop Inn; With Two Endings; From Within; Folktale From Far East 4.

The affable, energetic and intense jazz saxophonist Dan Thomas is an native of Canada who made Kansas City his home a few years back, having landed a teaching job in the UMKC jazz studies department now headed by Bobby Watson. The decision to come here has apparently worked out well, as Thomas seems to be settling into a period of great creativity. The release of his second compact disc “Musical Sanctuary” marks his continued evolution as a player, composer and bandleader since his 2003 offering entitled “City Scope”.

“Musical Sanctuary” features fresh compositions and arrangements, a tight ensemble, and muscular solos. It is comprised entirely of invented, original tunes--eleven by Thomas and another by pianist Roger Wilder. These are delivered in a style centered about bop ( RSVP , Blues for BLT , From Within , the Brubeckian Walt's Bop Inn ) but which widens to explore more open, freer forms ( Musical Sanctuary , Folktale From Far East , Professor RMW, Jr.) .

The first track , Toubanrut , an up-tempo bop conception based on the chord changes to Indiana displays Thomas' brainy compositional style. Is the title (an anagram of “turnabout”) a sign that playful spirits are restless? Hmm... In the introduction the rhythm sets up a pulsing hemiola figure suggesting a meter contrary to what will eventually prevail. Next, the horns buzz the tricky head melody which twists back on itself like the flight of a bumblebee that's had too much nectar (or espresso). As the harmonies underpinning all this unfold, the form of a 32-bar song is revealed. Musicians, artists and mathematicians have loved this sort of thing since antiquity: an illusion whereby patterns appear strange or incoherent but suddenly are revealed as familiar. It's a nice trick and Thomas and his band mates pull it off well, not just on the opener but in From Within , his interesting re-working of “Cherokee”.

Other tracks are more exemplary of Thomas' interest in freer forms. Professor RMW, Jr . (dedicated to Bobby Watson, who has mentored Thomas and generally helped revivify the local jazz education and performance scene since his coming here five years ago) is a pensive 3/4 melody in an abstract, floating style that might be said to search, probe and find resolution.

Joe Parisi's lyrical flugelhorn introduces the melody of the serene ballad Love Everlasting (dedicated to Thomas' wife Monica). Its phrases evoke simple declarations of deep devotion in a mood of quietude.

Parisi's sparkling trumpet solos on tunes like Toubanrut and With Two Endings reflect the influences of Woody Shaw and Lee Morgan. Although he is an important faculty member in the “legit' arm of the UMKC Conservatory, one imagines he could hold his own on the NYC jazz scene.

Thomas' onstage band is a quintet but in this recording he uses two bassists, Bram Wijnands and Craig Akin . Each functions in the group admirably. Akin is equally impressive on electric bass (his approach to the funky Expressions recalls James Jamerson or Jaco) or upright (listen to his duet with Thomas opening Walt's Bop Inn ). He's got enormous technique, great imagination and an approach to his instrument that is unusual and fresh. Wijnands, who's best known to KC jazz fans as the resident weekend pianist-magician at the Majestic Steakhouse, is also an accomplished jazz bassist with a rich bass sound and unerring time. As he is arguably the world's greatest pianist playing in the Errol Garner-Fats Waller tradition it's rather amazing he doubles on bass this well.

Mike Shanks (drums) is a young master of time who responds with the right answer to each musical challenge Thomas' book and band offer him. He seems capable of driving any musical situation with interestingly layered, technically polished and solid rhythm textures. His work shines throughout.

Roger Wilder's enigmatic and riveting With Two Endings (the only non-Thomas composition on the disc) is one of the recording's many highlights. It leaves you wanting to hear more of his tunes. His playing is always ingenious, surprising and musical. His Rhodes piano contributions (on Selflessly Assured , for example) widen the quintet's timbral pallete. Whether comping or soloing he's perfectly on or off the beat as he pleases no matter how tricky or convoluted the musical challenge at hand may be.

I could go on about this very successful project but a review provides limited space. To sum up, I recommend JAM readers buy this CD and plan to see Dan Thomas Quintet right away! Bios of the band and a more detailed look at DT's background and projects are at www.danthomas.info

— Rich Hill

Bram Wijnands and his Majestic Seven
Kansas City Swings

Personnel: Steve Patke, clarinet, soprano sax; Dan Thomas, alto sax; Tim Doherty, tenor wax; Rick Rieger, tenor and alto sax, clarinet; Hal Melia, tenor and baritone sax; Lucky Wesley, bass; Tommy Ruskin, drums; Bram Wijnands, piano, vocals, arrangements.

Tracks: Always and Forever, Body Heart and Soul; It Don't Mean a Thing; Tenderness; Fancy Meeting You; Ding Dong Baby; Jumpin' at the Woodside; There's a Small Hotel; The Beret and the Hatpin; Ma Brunette Belle; Almond Eyes and Chico; Corner Pocket; Star Sapphire; Down for the Count; Broadway Boogie; Teardrops From My Tears; Honeysuckle Rose.

Bram Wijnands latest CD is a tribute to the small group swing music of the 1940's, with some 1930's and 1950's touches thrown in. Backed by a first-rate Kansas City ensemble, it will have you tapping your feet.

He plays homage to Benny Goodman with his own “The Beret and the Hatpin”, and to Count Basie with the Freddie Green tune, “Corner Pocket”, and Basie's own “Jumpin' at the Woodside” and “Down for the Count”. “Fancy Meeting You” is another in the Basie bag, with Bram's piano straight from the Count's spare, swinging style. Both the 1940's solo and riff-based Basie style and the more arranged 1950's Basie music are on display here.

Ruth Brown's “Teardrops From My Eyes” shows just how close early R&B was to jazz. Bram takes the vocal chorus here, as he does throughout. His voice is typical of the vocals of the period. His version of “There's a Small Hotel” is another example of Bram's ability to evoke the vocals so typical on small group swing sessions of that era.

In addition to Bram's arrangements, his original compositions are a highlight, all of high quality and fitting into the genre. The arrangements typically have a clarinet or soprano sax lead, and the Hal Melia baritone sax provides a great bottom, especially “Always and Forever”. And note “Honeysuckle Rose”, where Bram reworks the melody; it's not until you get to the bridge that the Fats Waller classic emerges.

On “Always and Forever, Body Heart and Soul”, you might think you were at a speakeasy at closing time. “Last Dance” reminds me of the old “Moonglow with Martin” show. It is very New Orleans. On “Almond Eyes and Chico”, one might think of jitterbugging to the swinging beat. On “Broadway Boogie” Bram gets to really stretch out, and with the group riffing in the background, makes you want it to go on for while. “Tenderness” is a pretty ballad by Bram, with a standout clarinet solo.

Of course, the soloists stand out throughout. There are no solo credits, hence it is impossible to state with certainty who is on clarinet, alto, or tenor sax. But Steve Patke's soprano is a highlight on “Jumpin' at the Woodside”, as is Hal Melia's boppish baritone on “Almond Eyes and Chico”.

This recording reminds me of the Widespread Jazz Orchestra, a New York-based small group swing band that was popular in the late 1970's and early 1980's. Like that band, the group here sounds like they had a great time recording this, and I'll bet that enjoyment will carry over to the listener.

— Don Merker

Diane “Mama” Ray
Mama's Mood
G-4ORCE Music-2005

Personnel: Diane “Mama” Ray, Lead Vocals; Allen Monroe, Keyboards; Don D. Glaza, Drums; Larry Thomas, Rhythm Guitar; Brian Ruskin, Lead & Rhythm Guitar; T. C. Griddine, Engineer & Keyboard; George O. Robinson, All Horns and Background Vocals.

Tracks: Moon Dance; Midnight Train to Georgia; Another Star; Mama's Mood; Ain't No Sunshine; A Song For You; Use My Imagination; California Dreamin'; Save Your Love For Me; Everyday I Have The Blues; When A Man Loves A Woman.

Tracks recorded 2005, TG Production Recording Studio “The Sound of Kansas City”, Kansas City , MO. Produced: G-4ORCE Music. Co-Produced by TC Griddine

Tracks recorded 2005, Premier Studios, Lenexa , KS . Engineer: Sam Platt. Mastered by Richard Dodd.

Forty-three years after appearing on the local music scene from New York City , Diane “Mama” Ray is still bringing in the crowds. The official “unofficial” scene for “Mama” Ray has been Harling's over on Main and Westport Roads, where “Mama” has been hosting a jazz jam session for the last twenty years. The Kansas City blues matriarch has been keeping blues, jazz and rhythm and blues standards alive with her smoky Peggy Lee voice.

I first heard “Mama” over a decade ago during a short stint upstairs at Harling's. The songs I heard flowed effortlessly through the speakers and mixed wonderfully with the instruments of the Rich VanSant Band. I have come to understand why people from around the world have come to Harling's Upstairs to not only listen to some great music but to participate in the jazz jam. It doesn't matter if she's purring out a love song or belting out the blues, Diane “Mama” Ray is the epitome of a jazz performer – no two performances are going to be quite the same and the experience will be unique each and every time.

Mama's Mood is Ray's first new recording and features cover tracks ranging from the Carpenters to the Mamas and the Papas. The only original track is the title track “Mama's Mood” written by “Mama” Ray herself. The feel of the recording is one of a live performance, Ray's most perfect venue.

The first track on Ray's new CD is a cover of Van Morrison's “Moon Dance”. The band keeps the rhythm of the song true to the original while Ray is able to keep the feel of Morrison's intent, a little bit of swing infused with a little bit of romance thrown in, intact. “Mama” follows this up with the old Gladys Night and the Pips classic “Midnight Train to Georgia ”. The R&B sound of the Pips is brought forward and Ray is able to do Night's superb vocal work justice.

The third track is another R&B classic from the 1970s. This time Ray covers the Stevie Wonder hit “Another Star.” The band kicks up the finger-snapping rhythm of this fast-paced romantic ballad. About halfway through the track Brian Ruskin is allowed a great guitar solo that is packed right out of the mid-1970s. Next up is “Mama's Mood”. Written by “Mama” Ray, this track is autobiographical and is introduced by Ray herself. The feel is very bluesy and Ray's growling vocals perfect the sound.

Two ballads are up next. First is “Ain't No Sunshine”, which contains some great guitar licks and instrumental interludes. The other is “A Song For You”, the Leon Russell song made famous by the Carpenter's. Next up is the second Gladys Night and the Pips classic “Use My Imagination”. Again Ruskin's guitar work here is superb and Ray and the rest of the band keep the Pips in mind throughout the entire track. Definitely a highlight on the recording.

“Mama” Ray takes us back to the 1960s with the next track “California Dreamin'”. The track has a little bit more of a jazzy feel to it than the original made famous by The Mamas and the Papas but is still a great cover song. Ray takes “Save Your Love For Me” and throws a little bit of funk into the Nancy Wilson classic. Robinson's horn work in this track is almost haunting.

Up next is “Everyday I Have the Blues”. I was initially afraid to listen to this track. How can you improve on BB King or Fleetwood Mac? The only thing missing is BB King's “Lucille” but the band makes up for it with some great solos that allow them to shine. The final track is the old Percy Sledge classic “When A Man Loves a Woman”. Ray definitely sings this song from the soul. Her blues singing experience allows her to give this song some real life and feeling to it. You can hear the hurt in the song through Ray's interpretation.

The feel of the entire recording is one of a live performance. Diane “Mama” Ray has been performing in Kansas City for nearly a half-century now. If you haven't had a chance to catch her in person, do so. If you can't make it pick up Mama's Mood ; it's a close second to a live performance.

The Kansas City Jazz Orchestra Take One

The Kansas City Jazz Orchestra
Take One