What's New on WDCB... with Paul Abella

Dee Dee Bridgewater & Bill Charlap – Elemental (Mack Avenue)

Vocalist Dee Dee Bridgewater likes to put themes to her studio albums. Whether it’s the music of Duke Ellington, Billie Holiday or Ella Fitzgerald or the music of Memphis or New Orleans, there always seems to be a plan. On her latest, Elemental, with pianist Bill Charlap, the focus is firmly fixated on the Great American Songbook. For fans of Bill Charlap, Elemental will be a departure from his usual fare. He falls right in line with Bridgewater’s sense of adventure, and his playing is as sparse as can be. If you’re familiar with Andy Bey’s solo work, I keep being reminded of what was going on with those records, which was absolutely magical. That same kind of magic exists here, especially on songs like “Here’s That Rainy Day” or “I’m Beginning to See the Light.” On “Honeysuckle Rose” and “S’Wonderful,” Bridgewater is clearly having a blast as the tempos heat up just a bit. Elemental finds Bridgewater in fine voice, and Charlap revealing a different side of his personality.  The combination of these two is nothing short of fascinating.

Behn Gillece – Pivot Point (Posi-Tone)

Vibraphonist Behn Gillece recently released his latest album, Pivot Point, for Posi-Tone Records. There are familiar faces heard here, namely pianist Jon Davis, bassist Boris Kozlov, and drummer Rudy Royston. Fellow Posi-Tone artist, Willie Morris plays the saxophone, and the wonderful drummer Jason Tiemann plays in place of Royston on five tracks. If there’s a direct comparison to be made, it might be to Jackie McLean’s mid-60s albums on Blue Note that also featured Bobby Hutcherson. Clever melodies, slick little passages here and there, and the interplay between the band made Jackie’s albums like Destination…Out! or One Step Beyond stand out, and the same sense of adventure shows itself on a number of songs heard on Pivot Point. The hardest swinging songs on the album, like “Haymaker,” “What’s Expected” or “Just for Fun” are especially tasteful. The two boogaloos, “Stranded in Elizabeth” and “Changes Over Time” are funky, loose, and infectiously joyous. There’s a lot to like on Pivot Point, and that’s why I’m sure you’ll be hearing a lot of this album on WDCB!

Anita Donndorff – Thirsty Soul (Fresh Sound/New Talent)

The last time I saw a vocalist from the Fresh Sound/New Talent label, it was Vanisha Gould’s debut album, Life’s a Gig. That one made a few WDCB hosts’ ten best lists last year. So, the bar was set pretty high. Sure enough, I was taken by Thirsty Soul from the second it went in my CD player. Argentinian singer Anita Donndorff is clearly willing to take some chances and have fun with some well-worn tunes. I love that she starts off “No Moon at All” at the bridge. Guitarist Peter Bernstein joins in on the fun on “Charade” and Antonio Carlos Jobim’s “Ana Luiza.” Bassist Paul Sikivie is bassist on all but one song on the album. Donndorff proves herself to be a composer and lyricist with some talent as well on the album’s title track. Cole Porter’s “You’d Be So Nice to Come Home To” gets a swiftly paced arrangement that swings at a nice finger popping tempo. Her take on Billie Holiday’s “Don’t Explain” is lovely, and I keep coming back to her version of “The Great City,” which uses Carolina Cohen’s congas to great effect. All of that is to say that Thirsty Soul is a remarkable way for a singer to introduce herself to the world.