Showing posts with label Hal Singer. Show all posts
Showing posts with label Hal Singer. Show all posts

Wednesday, February 15, 2023

Al Copley & Hal Singer - Royal Blue

Album: Royal Blue
Size: 98,0 MB
Time: 42:07
File: MP3 @ 320K/s
Released: 1990
Styles: Jazzy blues, piano blues
Art: Full

1. Boogie Woogie On MTK (2:46)
2. Standing By The Highway (4:52)
3. Sittin' In The Barber's Chair (3:14)
4. Please Don't Leave Me, Baby (3:37)
5. Elegie (2:57)
6. That's Hal (4:14)
7. Tater Diggin' (3:30)
8. Morning, Noon, And Night (3:16)
9. Wake Up Dead (4:51)
10. My Bonnie Rocks (2:12)
11. Glass Boogie (3:00)
12. Royal Blue (3:31)

Quite a surprise, this rich, rewarding album that keeps finding its way back into the CD player. Ranging from swing to R&B to boogie to jazz and back again, Al Copley and Hal Singer's joint venture rarely lets down for so much as a measure. The choice of material is excellent, the playing joyful. So, why a surprise? Because of the very flatness of Copley's 1989 Black Top release, "Automatic Overdrive."

On this venture, though, sharing billing with Ellington band alumnus Singer and backed by a solid band including guitarists Snooks Eaglin and fellow Roomful of Blues alumni Duke Robillard, Copley seems able to relax, and the resulting delights are ample. (On his solo "Automatic Overdrive," Copley was featured in a trio setting and seemed to be trying to carry the album by himself.)

Not only does the style of music range broadly on "Royal Blue," but so does the style of Copley's piano playing. For instance, on a cover of Art Tatum's "Elegie," Copley's work has a classical sound, much like Tatum's own approach. Not to be ignored, either, is the gumption needed to approach a song by as talented a virtuoso as Tatum. Copley's version of this richly textured piece is near-flawless, and may be the musical hallmark of this album if just for the sheer technical skill required.

Singer steps forth on a Copley original, "That's Hal," a straight-ahead jazz piece apparently inspired by the Lester Young-penned Basie band standard "Lester Leaps In." Both songs feature the piano and tenor sax trading leads, with Copley capturing Basie's Kansas City sound. The above two cuts are all the more impressive when one considers that Copley didn't need to take the chance. He could have stuck to the shaking boogie pieces his reputation was built on with Roomful of Blues.

If there is a weak link in all of this, it is Copley's singing. Still, his voice is passable, the delivery impassioned, and the enthusiasm contagious. Only a real curmudgeon would complain about an album this good. /Jim Trageser

(For personnel details, see artwork included.)

Royal Blue mc
Royal Blue zippy

Monday, June 29, 2020

Hal Singer - Blues & Rhythm Series 5073: The Chronological Hal Singer 1948-1951

Size: 202 MB
Time: 67:58
File: FLAC
Released: 2003
Styles: Blues, R&B, Jazz
Art: Full

01. Swanee River (2:48)
02. Plug For Cliff (2:58)
03. Cornbread (2:57)
04. Rent Party (2:36)
05. Singer Song (2:26)
06. Rice And Red Beans (2:23)
07. Swing Shift (2:25)
08. Cooking With Cookie (2:53)
09. Blue Monday Caravan (2:56)
10. Jiblets (3:12)
11. Disc Jockey Boogie (2:44)
12. Teddy's Dream (2:26)
13. Beef Stew (2:32)
14. One For Willie (2:43)
15. Neck Bones (2:33)
16. Happy Days (2:41)
17. Midnight Jump (2:52)
18. Hot Bread (3:02)
19. Loose Riff (2:36)
20. Travelin' Shoes (2:35)
21. I Feel So Good (2:45)
22. Rock Around The Clock (2:57)
23. Fine As Wine (2:40)
24. Buttermilk And Beans (2:29)
25. Blue Velvet (2:37)

Tenor sax player Hal "Cornbread" Singer spent his career moving with ease between jazz, R&B and early rock & roll, and his hard, muscular sax sound is unmistakable, practically defining the words "searing" and "scorching" on key instrumentals like "Cornbread" (his first big solo hit) and its follow-up, "Beef Stew." Both tracks are included here in this collection of his earliest solo sides for Savoy Records, along with two late-'40s sessions with pianist Sir Charles Thompson and Chicago shouter Carl Davis, Singer's first side with Coral Records, and "Spo-Dee-O-Dee," his lone Mercury Records recording. Singer was never wilder or more dynamic than on these wonderful sides, and he shows remarkable versatility on pieces like "Disc Jockey Boogie" and his slightly slowed version of "Rock Around the Clock," even though his attack mode is roughly the same. The horn-blasts during the breaks in the latter song are nothing less than a force of nature, while his rough-hewed gentleness on "Blue Velvet," the final track here, is full of a kind of rugged beauty. This is a marvelous compilation, and an ideal introduction to an important sax man. ~Steve Leggett

The Chronological Hal Singer 1948-1951