On her fifth release, Dreams of Waking: Music for a Better World (Green Hill Music), Dara Tucker puts an acoustic jazz spin on 1970s classics by artists such as James Taylor, Stevie Wonder, Paul Simon, Marvin Gaye and Carole King.While describing him as gentle, kind and compassionate, Levy also says of McNeil, “He doesn’t suffer fools and can be brutally honest.” On the spiky “Lose My Number,” Levy elicits the edgier side of her pal, which is reflected in the dark and jagged rhythmic accompaniment, as well as a humorously misanthropic lyric that reiterates the song’s title. The collaboration between singer and songwriter is further bolstered by their knowledge and understanding of one another. Levy based some of her writing on her own experiences, but also expanded on the narratives behind McNeil’s original music for example, “Tiffany” relates a story of McNeil’s longing to buy his wife a birthday present from Tiffany’s, but unable to afford one, he wrote her a song instead. The singer receives sterling support from pianist Carmen Staaf, bassist Carmen Rothwell and drummer Colleen Clark, and McNeil lends his trumpet to a few tunes, as well. On her latest release, Lose My Number: Allegra Levy Sings John McNeil (SteepleChase), Levy dips into her friend’s songbook, penning lyrics to songs McNeil wrote from the 1980s to the early 2000s. He’s also a friend and mentor to New York-based singer Allegra Levy, having produced her first two recordings. Trumpeter John McNeil is a prolific composer.
Like his predecessors, Myers raises a voice for justice and good jazz. Myers then sings a litany of the woes that have him moaning, including unemployment, homelessness, drug addiction and even the Proud Boys. Saxophonist Herb Scott unspools a fiery solo at the midway mark, before the tune takes a turn for the elegiac. There are moments of exuberance here, as well, particularly on a joyously churchy “Down by the Riverside” and a ringing read of the Bobby Timmons’ hard-bop classic “Moanin’.” The Timmons’ track fits in particularly well with the album’s theme, as Myers conjures an existential weariness - but not resignation - as he engages pianist Sam Prather, bassist Kris Funn and drummer Dana Hawkins in the song’s signature call-and-response. “How Can I” and “Don’t Ask” are poignant reflections on violence being visited upon the Black community by law enforcement and the psychological trauma of those left to mourn and ponder if they’ll be next. On The Pride Album, his recent self-released recording, the vocalist, pianist and composer dives into the current moment with songs such as “New Jim Crow,” a track exploring the issue of “driving while Black” and the life-and-death implications for people of color. In the tradition of Abbey Lincoln, Nina Simone and Oscar Brown Jr., Aaron Myers delivers powerful socio-political commentary through his music.The nocturnal theme carries over into upbeat versions of “Let’s Dream in the Moonlight” and “Moonglow,” and Joy’s debut shines with the promise of things to come. Joy kicks off the album with a dreamy read of “Stardust,” deftly introduced by Grasso, with whom she engages in a sublime duet for the first minute and a half before the rhythm section joins in. On tunes both familiar and obscure, the Bronx-born Joy nods to touchstones such as Billie Holiday, Nat King Cole and especially Sarah Vaughan, whose timbre and phrasing figure prominently in her delivery. The 2019 Sarah Vaughan International Jazz Vocal Competition winner receives excellent support from rising guitar-star Pasquale Grasso and his trio mates, bassist Ari Roland and drummer Kenny Washington, the guitarist’s solos and comps generating heat and warmth in equal measure. But, at the age of 21, Joy displays maturity beyond her years as she pages through the Great American Songbook and invests each tune with fresh vigor. On her self-titled debut recording for the Whirlwind imprint, Samara Joy interprets songs that were golden oldies when her grandparents were courting.