Southern Jazz Music

Tom Lellis is a great musician/composer and he gets the chance to expand on his love for Brazilian music; particularly in the Jazz mode.
Here he sings in both English and Portuguese; even though his pronunciation of Potuguese leaves some to be desired; it's very good nevertheless.
One of two great features that made this album a hit, is the inclusion of several cuts that are standards in the Brazilian realm; compositions by Djavan, Milton Nascimento, Hermeto Pascoal, Toninho Horta, Antonio Carlos Jobim, etc.
And second, is this great list of guests that helped adding the original Brazilian Jazz flavor to the mix:
- Tom Lellis: Piano / Keyboards / Vocals
- Romero Lubambo: Acoustic Guitars
- Frank Colon: Percussions
- Kip Reed: Bass
- Jamey Haddad: Drums / Percussion
- Roseanna Vitro: Vocals
- etc.
- Master guitarist: Toninho Horta

Very recommendable for fans of Jazz and Brazilian Jazz.

This disc may be of interest to Phil Harris collectors, but it isn't a good choice for someone wanting a starter collection. As the poor liner notes say, "the majority of the tracks ... are extracted from the 1949 season" of Harris' radio show. You would never know this until you paid for and opened the disc. For the most part the sound quality is good, and the performances are lively.

Southern is in usual soft lighly swinging voice for these two very differnt settings, the 1st with a jazz trio led by Peggy Lee's husband at the time Dave Barbour. The second feature an orchestra with arrangements by ultra cool arranger Ralph Burns who also arranged many fine albums for Lee Wiley, Tony Bennett, and a few other jazz vocalists. This is as good as any Jeri Southern releases out there, and it comes recommended, especially to jazz musicians who can really appreciate the sultry voiced piano playing singer

The first album of this twofer, Southern hospitality, gets off to a great start with Miss Johnson phoned again today, which sets a very high standard that never drops. This album features sparse musical backing, with Jeri on piano backed by the Dave Barbour trio. Among the classic songs here are The very thought of you, Mad about the boy, Every time we say goodbye and It never entered my mind.

The second album, Jeri gently jumps, features a fuller sound. Ralph Burns and his (small) orchestra provide the musical backing leaving Jeri to just sing. Even so, the music is not intrusive. Like Southern hospitality, this has a brilliant opening track, You forgot your gloves. I've got five dollars is a rare (for Jeri) upbeat song, but although it makes a nice change of pace, there are plenty of other singers that can do this sort of song better.

While I slightly prefer the first album, both are brilliant and wonderful additions to any collection of music by the great torch singers of a bygone age.

Southern is in usual soft lighly swinging voice for these two very differnt settings, the 1st with a jazz trio led by Peggy Lee's husband at the time Dave Barbour. The second feature an orchestra with arrangements by ultra cool arranger Ralph Burns who also arranged many fine albums for Lee Wiley, Tony Bennett, and a few other jazz vocalists. This is as good as any Jeri Southern releases out there, and it comes recommended, especially to jazz musicians who can really appreciate the sultry voiced piano playing singer

The first album of this twofer, Southern hospitality, gets off to a great start with Miss Johnson phoned again today, which sets a very high standard that never drops. This album features sparse musical backing, with Jeri on piano backed by the Dave Barbour trio. Among the classic songs here are The very thought of you, Mad about the boy, Every time we say goodbye and It never entered my mind.

The second album, Jeri gently jumps, features a fuller sound. Ralph Burns and his (small) orchestra provide the musical backing leaving Jeri to just sing. Even so, the music is not intrusive. Like Southern hospitality, this has a brilliant opening track, You forgot your gloves. I've got five dollars is a rare (for Jeri) upbeat song, but although it makes a nice change of pace, there are plenty of other singers that can do this sort of song better.

While I slightly prefer the first album, both are brilliant and wonderful additions to any collection of music by the great torch singers of a bygone age.

For years Alex Bugnon has been quietly creating an ever-so-slightly funked-up version of contemporary jazz, subtly innovating the genre with gospel and R&B edges, much to the delight of a small core of fans, but at the same time alienating many supposed jazz "purists," put off by the soul and heavy synthesizer elements of his work.

As a change of pace, and likely as a nod to that latter contingent, Alex ditched many of the excessive keyboards found on previous albums and stuck to piano and Fender Rhodes on this 2003 release, "Southern Living." Not to worry, fans, he kept the soul and added on a little more of that influence. It's refreshing, even as a hard-core Alex Bugnon fan, to see this simplicity. Change is both essential and good sometimes.

Recorded in Atlanta with musical friend Phil Davis and some of Atlanta's better studio musisicans (as opposed to Charles "Poogie" Bell, David Delhomme and other Bugnon stalwarts) the album sounds like an easy afternoon in the South, creating a fresher feel than the usual Bugnon albums, while still sounding like Alex. The title track, "Lonely Nights," "Sweetwater Creek" and "Slow Drag" will get your attention on the first listen.

"Southern Living" contains remakes of two of Alex Bugnon's signature hits, a practice most recently seen on "Soul Purpose" (2001). "108*" is a softer reworking of 1991's "107* In The Shade" (from the album of the same name) that, true to form, is a bit hotter than the original. By contrast, the reworking of 1990's "Missing You" as "Missing You Like Crazy" left me cold. "Missing" from "Head Over Heels" didn't need vocals and a bastardized version of its melody. It's a decent song, but the original deserved better justice, if it was to be remade at all.

Despite that gaffe, I encourage you to give this album a try, It's worth it for Alex Bugnon fans and non-fans alike.

This is absolutely the best Alex Bugnon CD ever. It has a smooth flow throughout with an exemplary recording. I never heard a piano sound so good; must be a Steinway or Baldwin. Get this one at all cost.

Alex Bugnon has done it again, with a smooth jazz CD that is wonderful from start to finish....I especially like "Sweetwater Creek", "Missing You Like Crazy" and "Lonely Nights"--An awesome addition to an already impressive career.

Alex Bugnon is one artist who has consistently put out music that you can buy with assurance that the whole CD will be good. He did not disappoint on this one. This CD is smooth, funky, and laid back all at the same time. The quality of the songs equal and exceed anything that's available at this time. As a resident of the "South", this CD does indeed capture the feel of southern living. If you like great smooth jazz, this is a "must have" for your collection. I wish the bonus song was longer. I could feel the vibe that was happening during the recording. Maybe it will show up on a future project.