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If you’re between the ages of thirty and forty, you may have been conceived while your parents were listening to Canton, Ohio’s the O’Jays. Well, the O’Jays circa 1974. While the vocal troupe has recorded consistently since its inception during the waning moments of the sixties, last year releasing a Christmas-themed album, it was the disco age and efforts like the funk-cum-smoothed-out-dance-music on “Family Reunion” that marked the end of the group’s heyday. Surely, international touring helps keep up the band’s popularity. But if the O’Jays classic work is discussed, it’s the early seventies that are referenced. Read the rest of this entry »

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When Bill Wyman left the Rolling Stones in 1992, fans of the septuagenarian bassist thought he would simply retire and concentrate on Sticky Fingers, his United States-themed cafe (according to Keith Richards’ best-selling autobiography) and his signature metal detector. However, nothing could be further from the truth. He has kept quite busy with his Rhythm Kings, a band he founded in 1998 with longtime musical partner Terry Taylor. Read the rest of this entry »

During this time of year, music stores and their online counterparts get filled with rereleases that range from remastered versions of holiday classics from Ella Fitzgerald, Ray Charles, Tony Bennett, Elvis Presley and Frank Sinatra to not-so-great offerings from the likes of Christina Aguilera and even former Beatle Ringo Starr (who made a whole album about a decade ago). And then again there are those faux-humorous songs about daddy getting drunk at Christmas while grandma was run over by a reindeer. While some of these examples are genuinely enjoyable, many are better left where they belong—in the bargain bin.

But the truth remains that for many people a Christmas party is not quite complete without holiday music, so there definitely is always a market for these albums—even if we have been hearing them day in and day out at the local grocery store since late October. In spite of that sensory overload, some new
releases deserve to be checked out, especially for artists who decide to present these classics from a different perspective. Read the rest of this entry »

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The Old Town School of Folk Music has been the stage for countless performances for its half-century existence, hosting concerts that run the gamut from Americana to folk-rock and world music and in the meantime giving lesser-known artists a chance to showcase their talents to appreciative audiences that might not be reached otherwise.

To celebrate this, the school is releasing a four-disc box set of recordings made during these shows—some made on the sound board and others captured during radio broadcasts. The full package includes as many as 127 songs that had to be individually cleared with each artist or their estates. Read the rest of this entry »

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It’s infrequent when fifty-year-old careers claim the last few months as the most fruitful. During March, Dr. John was inducted into the Rock and Roll Hall of Fame. And the NOLA native’s 2010 album, “Tribal,” was in contention for a Grammy as “Best Contemporary Blues Album.” It’s the pianist’s earliest recordings, however, that continually pull in younger music scavengers. Sure, “Tribal” sought to more fully incorporate that bad ju-ju the singer prodded decades back with tracks like “Manoovas” sounding as if the band were possessed by some devilish spirits. But “Gris Gris,” recorded back in 1968, remains Dr. John’s towering achievement. For an album so beholden to NOLA’s musical and spiritual heritage, it’s odd to find that the disc was recorded in Los Angeles, where Dr. John had relocated and begun work as a part of the Wrecking Crew, taking on studio gigs backing up everyone from Sonny and Cher to Canned Heat. Read the rest of this entry »

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Sure, the first Lettuce album was titled as a joke—“Outta Here.” The fact doesn’t lessen the music’s funky impact, though. Comprising a handful of players engaged with Soulive and any number of groove-related revival projects, Lettuce ranks as an enduring live act. Read the rest of this entry »

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The former child performer (and daughter of late producer and arranger Don Costa) shows on her new EP that she is in constant evolution as a performer. After dabbling in electronic and soul music on her previous efforts, Costa meets halfway by blending all her influences into a very personal musical form. The record opens with the bass-heavy “Head First,” a soul-inflected pop song that sounds ready for remixers and DJs to dabble with. “Never Wanna C U Again” shows her angry-girl side—it’s a female empowerment rocker about not allowing herself another lover’s deceit.

The title track is a bit unimpressive. Costa tries a bit too hard to mix a punk attitude with electronic elements, but the result is at least danceable even if it falls flat musically in comparison with the rest of the material on the disc. On the other hand, the downtempo “Chase the Thrill” has just the right blend of soul and psychedelics without sounding overproduced. The tune shift tempos towards the end, allowing for the instruments to take over and carry on its dreamy state—think of it as a cross between Alanis Morissette and the more trippy sounds of the late sixties in a well-balanced package. (Ernest Barteldes)

Nikka Costa
“Pro Whoa!”
(Go Funk Yourself/Giant Step)
www.nikkacosta.com

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On their new release, “Nu Revolution” (Shanachie), sisters and collaborators Helene and Celia Faussart continue to explore the music fusion that their sound is all about: the blend between the music of their African ancestors, French contemporary pop and American soul.

The new album comes after a long hiatus from the studio caused by a break with their original label and also by the duo’s relentless touring. But it was definitely worth the wait—the record presents a collection of great genre-busting tunes that run the gamut between African-inspired grooves, hip-hop and even electronic-inflected bossa nova (the incredibly catchy “Liberté”).

Les Nubians have great energy on stage, and they connect with their live audiences with their great charisma.They sometimes address political issues that are close to their hearts—during a show on their 2009 tour, Celia Faussart cited the racial problems of their native France by saying, “France is built on the principles of liberty, equality and fraternity, but when are we getting that?” The music, however, is at the core of their performance. (Ernest Barteldes)

May 14 at The Shrine, 2109 South Wabash, (312)753-5681, 9pm. $25.

RECOMMENDED

In the three decades since their inception in Saint Paul, Minnesota, Mint Condition has established itself as an extremely eclectic R&B band that can comfortably cross over into other musical styles, including jazz, funk, Latin and hip-hop while still having a signature sound, mostly courtesy of vocalist (and studio drummer) Stokley Williams.

When not on the road with Prince, the band has been steadily working and making records—they went independently for a few years, but have recently signed with Shanachie records, which is releasing their new CD “7″ on April 5. The disc features the lead single “Caught My Eye,” a romantic ballad with a great backdrop from Williams, guitarist Homer O’Dell, bassist Ricky Kinchen, and also, “Not My Daddy,” a collaboration with vocalist Kelly Price that is currently making its way through the charts.

Also notable is the opening track “Can’t Get Away,” a hummable tune with a fantastic guitar solo from O’Dell, who seems to draw inspiration from rock guitarists such as Joe Perry and Eddie Van Halen. The tune goes without interruption into “I Want It,” a rhythmically rich song that seems destined for the dance floor—or to move the audience when played live. (Ernest Barteldes)

March 25 at House of Blues, 329 North Dearborn, (312)923-2000, 9pm. $33. 17+.

Photo: Karl Giant

On “Leave It All Behind,” New York-based indie singer-songwriter Jason Walker explores all the influences that make up his musical style with a clear focus on Gospel-inspired soul. Possessing a voice with an uncanny resemblance to Simply Red’s Mick Hucknall (he is no imitator, though), Walker kicks off the disc with the piano-based “I Am Changing,” an ode to believing in oneself and recognizing the past. The title track is clearly intended for the dance floor with its techno-inspired beats, but paying close attention to the lyrics Walker sings of living through a mutually satisfying love affair.

Another memorable moment is the Brazilian-inspired “Como Te Llamas” (“What’s Your Name?”), a bossa that features an awesome guitar and keyboard arrangement. The very hummable neo-soul ballad “The Song in My Heart” is another great highlight that showcases Walker’s broad range. The presence of strings augments the tune well, and makes this one of the most enjoyable moments on the disc. Give the live version of “Sad Eyes” a spin just for producer/pianist Rami Ramirez’ solid accompaniment. (Ernest Barteldes)

Jason Walker
“Leave It All Behind”
(Self-Released)