Classical Music

INTERVIEW/PROFILE: Jazz Musician of the Day: Arthur Prysock (All About Jazz)

All About Jazz is celebrating Arthur Prysock’s birthday today! During his
prolific 43-year recording career, romantic crooner Arthur Prysock was heard
primarily in the company of big bands or string sections. On his nearly 60
albums, mostly for the Old Town label, Prysock found his deep, velvety tones
cushioned with violins or brass. His tender music has been a staple of jazz
radio in the wee hours of the morning, and of cheek-to-cheek dancing in smoke-
filled cocktail lounges. Arthur Prysock, Jr…During his prolific 43-year
recording career, romantic crooner Arthur Prysock was heard primarily in the
company of big bands or string sections. On his nearly 60 albums, mostly for
the Old Town label, Prysock found his deep, velvety tones cushioned with
violins or brass. His tender music has been a staple of jazz radio in the wee
hours of the morning, and of cheek-to-cheek dancing in smoke-filled cocktail
lounges. Arthur Prysock, Jr… more…

All About Jazz

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Harlem River Drive $16.98 The reason this record is “legendary” is because it marks the first recorded performances, in 1970, of Eddie and Charlie Palmieri as bandleaders. The reason it should be a near mythical recording (it has never been available in the U.S. on CD, and was long out of print on LP before CDs made the scene), is for its musical quality and innovation. The Palmieris formed a band of themselves, a couple of Latinos that included Andy Gonzales, jazz-funk great — even then — Bernard “Pretty” Purdie, and some white guys and taught them how to play a music that was equal parts Cuban mambo, American soul via Stax/Volt, blues, Funkadelic-style rock, pop-jazz, and harmonic and instrumental arrangements every bit as sophisticated as Burt Bacharach’s or Henry Mancini’s or even Stan Kenton’s. One can hear in “Harlem River Drive (Theme)” and “Idle Hands” a sound akin to War’s on World Is a Ghetto. Guess where War got it? “If (We Had Peace)” was even a model for Lee Oskar’s “City, Country, City.” And as much as War modeled their later sound on this one record, as great as they were, they never reached this peak artistically. But there’s so much here: the amazing vocals (Jimmy Noonan was in this band), the multi-dimensional percussion section, the tight, brass-heavy horn section, and the spaced-out guitar and keyboard work (give a listen to “Broken Home”) where vocal lines trade with a soprano saxophone and a guitar as snaky keyboards create their own mystical effect. One can bet that Chick Corea heard in Eddie’s piano playing a stylistic possibility for Return to Forever’s Light As a Feather and Romantic Warrior albums. The band seems endless, as if there are dozens of musicians playing seamlessly together live — dig the percussion styling of Manny Oquendo on the cowbell and conga and the choral work of Marilyn Hirscher and Allan Taylor behind Noonan. Harlem River Drive is a classic because after 30-plus years, it still sounds as if listeners are the ones catching up…

Looking Up $16.98 From Gregg Karukas’ prolific resume as a sideman for Boney James, Peter White, and Larry Carlton, among others, to a hot streak of radio hits dating back to 1987, this versatile keyboardist perfectly captures the joyful, optimistic, smooth jazz lifestyle. The title of his latest independently released gem, Looking Up, characterizes the uplifting nature of the disc, which features a slate of more irresistible keyboard melodies and a wide rhythmic palette that includes old-school soul, driving funk, samba (his Brazilian associations include Sergio Mendes and Dori Caymmi), reggae, and his first forays into the chill phenomenon. The disc opens with the vibrant and graceful, easy swinging light funk of “Girl in the Red Dress” (which features lush, retro-soul Rhodes harmonies), then takes us to the funky, old-school “London Underground,” the disc’s first single which includes B-3 organ harmonies. On the moody, chill-oriented title track, Karukas swirls his bright piano melody with cool, trippy ambient and rhythmic effects. Rick Braun’s distant muted trumpet helps Karukas explore the more romantic side of chill on the soothing, lush ballad “First Flight Home,” which is followed by “Show Me the Way,” a tune that captures the “classic Karukas” sound — happy, swinging brass sizzling behind a bright, bouncy key melody. While more artistic- than consumer-friendly, the track that digs deepest is “Crossrhodes,” a trippy, percussive excursion through classic styles that have been foundational in the keyboardist’s musical evolution — Latin, blues and old-school soul. Karukas once again dares even the most confirmed musical skeptic to kick back with a glass of wine and smile through the dark times. ~ Jonathan Widran, Rovi

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Someone to Give My Love To/Somebody Loves Me $17.98 Hux combined Johnny Paycheck’s two 1972 albums Someone to Give My Love To and Somebody Loves Me for this 2010 two-fer. Someone to Give My Love To followed Paycheck’s commercial breakthrough She’s All I Got so, unsurprisingly, producer Billy Sherrill made a natural decision to double-down on smoothness on this sequel, even letting the scales tip toward sunniness on occasion. It’s a little odd to hear the haunted auteur of “(Pardon Me) I’ve Got Someone to Kill” sing the chirpy “Smile, Somebody Loves You,” but peerless vocalist that he is, he never hesitates or stumbles, he simply sells the song. So it is throughout Someone to Give My Love To, an easy-rolling romantic record where there’s nary a broken heart and the concluding “It’s Only a Matter of Wine” barely registers as a drinking lament, even if it’s prefaced by Paycheck declaring it “one for the boys,” a tacit admission that the rest of the record is for the ladies. And so it is: it’s a collection of love songs, including the Beatles’ “Something,” and pop tunes that could cross over to AM radio, all decidedly lacking in Paycheck’s grit but fueled by his considerable charm. Somebody Loves Me is cut from the same cloth as Someone to Give My Love To, containing the same mix of love songs and crossover-ready country-pop, bearing a title that’s nearly identical. If anything, Billy Sherrill’s spangly production sparkles brighter here, with string sections vying with the Jordanaires for support, brass sections punctuating hooks, tempos bouncing along with relentless cheer. Paycheck sings no less than two Neil Diamond songs, not finding much to do with “Song Sung Blue” but sounding assured on “Life Can Be Beautiful.” That easy assurance is the hallmark of these early-’70s records Paycheck made with Sherrill: Paycheck is relaxed and confident, draped in satin and polyester, singing songs unusually sunny for him. It may not be his grittiest work, but there’s certainly an appeal in hearing this legend sing…

The Anvil [Bonus Tracks] $16.99 When they recorded the follow-up to their surprisingly successful debut, the members of Visage appeared to be dealing from a position of strength. But the dance club-fueled, style-obsessed new romantic movement that had propelled the group to success in England was already crumbling, and frontman Steve Strange had begun to take his role as the movement’s figurehead a little too seriously. The Anvil, rumored to be the subject of a multi-million dollar feature film (a project that never materialized), emphasizes Strange’s penchant for melancholy and melodrama. Where the band’s debut undercut such pretensions with humorous tracks like the twangy “Malpaso Man,” only one tune here — “Night Train,” with a rubbery bassline and blasts of brass backing a tongue-in-cheek tale of intrigue — dares to take liberties with Visage’s moody image. Still, with backing from the same core of post-punk all-stars (Ultravox’s Midge Ure — who co-produced the album — and violinist Billy Currie, as well as Magazine keyboardist Dave Formula), Strange and drummer Rusty Egan sound just as good as before, and despite once again closing an album with a forgettable instrumental (“Whispers”), almost all the band’s efforts on The Anvil are extremely well-crafted synth pop. Two, in fact, are essential new wave artifacts. The title track takes a despairing look around clubland, setting Strange’s best-ever lyric to a grim parody of a hit in the meat market disco it describes; it suggests he’d become disillusioned with the scene that had spawned Visage. “The Damned Don’t Cry,” meanwhile, is even better, a ghostly groove that comes closer than anyone would have thought possible to recapturing the haunted magnificence of “Fade to Grey,” the band’s signature hit. [Cherry Pop's 2008 reissue included six bonus remixes.] ~ Dan LeRoy, Rovi