RIP Tony Bennett: It's a Family Affair

 

     I’m saddened at the recent death of singer/activist Tony Bennett at age 95, both as a fan and for the family affair connections he created for many years.

     My late father Edward introduced me to Bennett’s music more than 50 years ago; a major big band jazz fan, with Stan Kenton his holy grail, dad's favorite male vocalists, at least from what little he would say in his usual secret way but introduced to me playing them on weekends, seemed to be Frank Sinatra and Bennett. No doubt partly for this reason as well as really liking their music, particularly the 1940s-mid-1960s, they became my favorite male jazz vocalists (I’m willing to be enlightened of others). There is something they could do with a melody and rhythm, and the use of dynamics and subtlety and/or taste both Sinatra and Bennett used are needed more today.

     While I thank my father for the introduction to these two singers, my late mother Sheila is a former fan of Bennett, although I kind of believed she never really stopped liking him. But every time my father would play his music for me, or any time Bennett appeared on television, mom would loudly launch into her mostly staged anger at how she used to love his music and was a favorite, but did I forget he up and left his first wife for a younger woman and that people just didn’t do that and that she couldn’t listen to his music any more. Of course, I frequently heard her singing “Fly Me to the Moon” and “I Left my Heart in San Francisco” while cooking or other activities, sometimes even dancing a bit while she sang.

     I was thrilled when Bennett made a serious comeback in his 60s, first with his tribute to the music of Fred Astaire, “Steppin’ Out,” but as no surprise, my favorite of his later albums was “Perfectly Frank,” a gorgeous, heartfelt and wonderful album of Sinatra songs. His version of “East of the Sun, West of the Moon” would be amazing at any age. The fact that Bennett, a World War II veteran, was busted in rank because he ate meals and fraternized with African American soldiers, and later joined the Reverend Dr. Martin Luther King Jr. on his voting rights march from Selma to Montgomery, Alabama, shows he was more than a singer.

     The first night after the announcement of Bennett’s death, I spent hours listening to his music, starting with the classic “I Left My Heart in San Francisco” album, and even listened to his Christmas album on a hot July night, thinking about the singer, my mother and father. I hope l always think of them when I hear Bennett’s music.

Gurf Morlix - Caveman

      (This review was started in March, but some continued writer’s block and other issues have  delayed completion until now. I’ll try to explain more soon; go figure. KJH)

     If you’re a professional, independent musician who tours a lot, produces other musicians and occasionally accompanies other musicians live, a pandemic such as COVID-19 (which really isn’t over) can potentially cause a lot of problems, from financial and artistic to personal/social. Buffalo/Hamburg native Gurf Morlix, who does all of the above, apparently named his late 2022 CD Caveman (Rootball Records) in recognition of how he feels things had gone for him.

     Fortunately, it sounds like things went quite well musically, because Caveman is a really good bluesy, rootsy country rock album. Morlix seems to have emerged from the pandemic pretty good so far, having played everything on the 10 songs here except for one accordion part and one drum track, as well as having produced and engineered the album. Not one to sit around even when you’d think he earned it, Morlix released his newest album, I Challenge the Beast, April 1. Indeed, he said he has recorded at least seven albums worth of music during COVID-19.

     The album opens with the fun “I Dig Your Crazy Brain,” sounding a bit tongue in cheek and led by a great bluesy country guitar riff. He notices someone for what might be outward appearances to others but Morlix sees something more underneath; he also delivers a short, sweet and stinging solo. The title song follows with Morlix noting he has and will do what he has to do to endure, an achievement both as an independent musician and survivor of the virtual stopping of his way of life for several years. There is some cool, echoey guitar on this track. There is also a notable cover of Jim Whitford's “Crash All Night,” originally released on the ex- and current Pine Dog’s Poison in the Well CD, produced by, you guessed it, Morlix in 2000 (Morlix and Whitford have been friends since childhood); the song features the original drum part played by the late Donald Lindley.

     Elsewhere, “Where the Lost Are Found,” some spare, swampy blues with a rocking solo, seemingly has Morlix leaving behind the superficial “friendly” world for something more substantial. “Mudbugs” shows Morlix looking back and forward to good, honest food, people and music, Louisiana flavored rock with a fine accordion part from Joel Guzman. He also nods to some great music and memories on “1959,” a dirty blues rock number. I could go on, but there really isn’t close to a bad song here.

      Morlix and Rootball Records can be contacted, and Caveman (and the new I Challenge the Beast) can be purchased, at www.gurfmorlix.com and at https://gurfmorlix.bandcamp.com/releases.

Thee Isolators: "Crying Eyes" b/w "Close That Door"

 

     I'm obviously going to explain a bit in a moment, but in case you want just the bare facts/my opinion: Thee Isolators new single, “Crying Eyes” b/w “Close That Door,” on Iso-Tope Records, is a great fucking slab of 60s garage punk rock. The mono recording and in-your-face wall of sound kicks from the first note to the last.

     Thee Isolators have been together a few years and are kind of an all-star band with a bit of a newcomer: Matt Aquiline of Revolver Records on vocals and guitar is joined by bassist/vocalist Mark Norris (Girlpope, Doombuggy, solo), Bob Hanley (The Irving Klaws, Cottonmouth) on organ and vocals and Craig Voigt (The Ramrods, Oui 73) on drums. Their live shows are a sweaty blend of 1960s garage punk rock and occasional poppier sounds, with some 1970s/80s punk and power pop roar added in and are highly recommended, especially if you haven’t done so yet.

     

     The original “Crying Eyes” comes charging out with Voigt’s drums before the rest of the band explodes in fine punk form; Aquiline’s tough, sinister vocals detail his getting dumped by his woman, but while it hurts, he’ll pick up the pieces and get over it without trying to get her back. After a wild guitar solo, he knows she can’t hurt him any more and his pride remains. The band also covers the smoldering gem “Close That Door,” originally recorded by the Tigermen. The slashing guitar, organ and thumping rhythm section actually sound reminiscent of Buffalo’s legendary The SplatCats from the 1980s (having caught lots of shows and owning every recording of this band, I don’t say/write this lightly). Aquiline’s bad romantic luck continues; he knows that they’re through so he’s heading back from where he came, pretty much slamming the door shut, but not before tearing off another short, screaming guitar solo.

     Thee Isolators’ recordings are available at Bandcamp.com, and the band can be contacted there or on Facebook and probably other social media outlets.