Cassandra Willson 1955-2026

Cassandra Wilson was one of the more highly regarded jazz singers of her time, which ended just recently at age 70. A fiercely independent artist whose career was long and varied, she became most famous for her jazz covers of blues, rock and pop tunes, but was equally respected for her own well-crafted songwriting, often in collaboration with select others.

She was not an overnight success. From 1985-1992, she made seven records for the JMT label, one Japan-only release, and one for DIW/Columbia. Most of this time she was associated with New York's M-Base collective headed by Steve Coleman and focused on improvisation within a funk-jazz-soul hybrid. These early records received some critical praise, but did not sell particularly well until she recorded her first of three standards records, the beautiful Blue Skies in 1988. Recorded with Mulligrew Miller on piano, Lonnie Plaxico on bass, and a young Terri Lynne Carrington on drums, Wilson quietly turned ten classics from the great American songbook into priceless performances. The supporting trio was exceptional, and Wilson's contralto delivered smokey, sensual versions of every song. She continued recording for JMT, making five more records with the label. Live and She Who Weeps (both 1991) charted and were somewhat successful. Unfortunately, her JMT period releases are not available for streaming, though that may change now that she has passed. A few of the Blue Skies songs show up on the Sings Standards 2002 compilation,

Then in 1993 she signed with Blue Note, and debuted the blues-pop-country-world music jazz blend that would become her trademark on the highly successful Blue Light 'Til Dawn. In 1995 she repeated the formula on New Moon Daughter, which went to #1 on the jazz charts, received broad critical acclaim, and won a Grammy for Best Jazz Vocal Performance.

1997 saw here return to standards on Rendezvoux with pianist Jacky Terresson. It's good, but whether it's Terresson's arrangements, his playing, or the choice of material, it pales in comparison to Blue Skies. Next up Traveling Miles 1999, a bold move to cover Miles Davis songs and in several instances, to add lyrics to his songs. It is hit and miss, with moments both sublime and baffling. But you've got to respect her for taking the project on, and it sold well and charted high.

Belly of the Sun 2002 is a classic eclectic collection of songs for reinterpretation. Covering Robbie Robertson, Antonio Carlos Jobim, Bob Dylan, James Taylor, Mississippi Fred McDowell, Jimmy Web, Robert Johnson, and others, and including four Wilson originals, some listeners wondered "Is this jazz?" The answer to that question only matters to high brow snobs. It's a solid record with few imperfect moments, but that happens sometimes when you still take chances, and Wilson does indeed take chances.

Glamoured 2003 continues the hot streak. Wilson writes half the songs while the rest is well-chosen, thoughtfully arranged covers. Producer and guitarist Fabrizio Sotti leads a keyboardless ensemble and brings out the best in Wilson. Almost everything works, and her version of If Loving You Is Wrong elevates an already classic song. Glamoured does not mean dolled up, it means enchanted, bewitched, and the title is perfect.

Produced by T-Bone Burnett, Keefus Ciancia and J.D. Foster, Thunderbird 2006 is Wilson's least jazz-like record, and continued to alienate her original "real" jazz fan base. Too many keyboards and electronics get in the way of her usual sound, but the record is still good. Just not quite as good as her best work.

Wilson returns to standards on Loverly 2008, and it is among her better work, and won her another Grammy. Jason Moran's piano, Marvin Sewell's guitar, and frequent contributor Lonnie Plaxico on bass lead a fine ensemble which also stars Nigerian percussionist Lekan Babalola. They are different in personnel and approach, but this one and Blue Skies are equally great records of standards.

Sewell and Babalola return for Silver Pony in 2010, along with John Batiste, Reginald Veal, and Herlin Riley, an all-star band that shines on a seamless mix of live and studio recordings. The record received somewhat mixed reviews, which surprised me, as I felt it was an excellent outing that leaned a bit more toward jazz, with less jazz-pop than her recent work. There are several longer songs that feature the band as much as the vocals, and it's a great band.

Another Country 2012 is a collaboration between Wilson and Fabrizio Scotti (see Glamoured above). They write and produce all of the songs together, and Scotti again plays guitar throughout. It's a different record from most of her work, and it is special in many ways. The two artists complement each other very well.

Her last recording, 2015's Coming Forth By Day is a tribute to Billie Holiday. Wilson does it her way, though, and never attempts to imitate Lady Day. Instead Wilson interprets and reimagines eleven songs by and/or associated with Holiday. Martyn Casey on bass and Thomas Wydler on drums, the rhythm section from Nick Cave's Bad Seeds, lay down a bluesy base while multiple guitarists and other talented musicians build an unusually atmospheric pallet for Wilson to color. Producer Nick Launay adds strings on the ballads, and it all adds up to a different sounding Cassandra Wilson record. But her distinctive voice and phrasing keep it very much in her wheelhouse, and mark the end of her career on a high note.

In all of this, Wilson's smokey contralto and sinuous and sensual delivery are what make her records so spellbinding. Her frequent use of guitars and interesting percussion over keyboards give her records a distinct flavor that is her own. A distinctive voice and an independent artist with a clear vision for her work made some of the best records of the last three decades. 

I had the pleasure of seeing her live twice, and I was in awe each time. As great as many of her records are, her live show was mesmerizing.

Prince Timeless 2026, The Guess Who Live 1972, Badfinger Straight Up 1971, Toy Matinee 1990, NRBQ Workshop 1972

The brand new Prince release really should have been titled Cash Grab.

 

The Guess Who Live at the Paramount 1972. I owned a Guess Who record (Wheatfield Soul 1969) way way back in '69. But everything I thought about the band changed when I heard this live record just recently. I was never convinced that Burton Cummings was the real deal. He is. The band totally rocks, and they are so much better than their records.

Badfinger Straight Up 1971. Everyone says that this is Badfinger's finest, and it sure is good. But for me, No Dice 1970 is just better, and it's definitely more fun. Hat tip to Bloggerythyms for this and The Guess Who.

Toy Matinee 1990. Never heard this until recently, and I can't remember which blogger to thank. A bunch of mostly studio pros form a band, make one record, and disappear. No big deal there, except it is a killer rock and roll record with great songs, fine instrumentation, tight arrangements, good vocals, and obvious intelligence about what makes a strong record.

NRBQ Workshop 1972. One of the most consistently strong NRBQ records, and yet somehow woefully neglected by the press. It's been reissued several times since 2007, and this new one is remastered. I don't know if it makes much difference, and I didn't compare it to my original vinyl, but it sounds good and there's a few extra tracks that have appeared before. For twenty years with Al Anderson, NRBQ made a whole lot of great ones. This one is in the top ten for sure.

Bill Bottrell

Bill Bottrell has made contributions to many fine records as an engineer, songwriter, musician and producer. He engineered ELO's Secret Messages in 1983 and has engineered, mixed, produced, wrote or played on records by Tom Petty, Madonna, Traveling Wilburys, Tomas Dolby, Michael Jackson, Elton John, Kim Richey, Rosanne Cash, and many more. One of his first producing credits was on Madonna's I'm Breathless in 1990. Also in 1990, he produced the eponymous (and only) record by Toy Matinee, a mostly unheard release that remains interesting today. He then produced, engineered and played on three songs on Michael Jackson's Dangerous album in 1991. He produced Rusted Roots' breakout When I Woke in 1994.

In 1993 Bottrell wrote, played guitar and produced Sheryl Crow's Tuesday Night Music Club. Bottrell and Crow won Grammys for Song of the Year for All I Wanna Do from that album. He returned to work with Crow on Detours in in 2008, where he wrote, played multiple instruments and produced. The record was considered a successful return to Crow's earlier sound. He mixed, co-produced and played on Rosanne Cash's Black Cadillac in 2006. He stayed busy thought the 2000s.

But it was in 1999 that Bottrell make his piece de resistance, producing, mixing, writing, and playing multiple instruments on Shelby Lynne's I Am Shelby Lynne. It isn't just Bottrell's greatest moment, it is also Shelby Lynne's. The songs are really great, Lynne's performance on vocals and backup vocals is astounding, the super clean recording and the massively dynamic mixing make for not only a wonderful listening experience, but a record worthy of helping to evaluate any stereo system no matter the cost. Remarkably, when it was reissued on vinyl in 2024, the dynamic range of the record was maintained.

Bill Bottrell won a Grammy and had eleven nominations during a long and successful career, and made several very memorable records. He's retired now, and I hope he is well and happy. 

Brad Paisley Water 2009

Here in Northeast Ohio it's been a hot summer. I feel bad for the Canadians and western Americans suffering through wildfires and water shortages, as well as many others throughout the globe experiencing heat and crazy weather in general. But climate change is a hoax sold to you by "scientists" that have investments in wind and solar energy. Yeah, right. Here in Northeast Ohio it might be hot, but we can seek relief the good old fashioned, Brad Paisley way.

Inflatable pool full of dad's hot air

I was three years old splashing everywhere

And so began my love affair

With water

On a river bank with all my friends

A big old rope tied to a limb

And you’re a big old wuss if you don't jump in

The water

Yeah, when that summer sun starts to beating down

And you don't know what to do

Grab your swimming trunks

Ice up that old Igloo

Drive until the map turns blue

Daytona Beach on spring break

Eighteen girls up on stage

White t-shirts about to be sprayed

With water

Oh let her go boys

Yeah, when that summer sun starts to beating down

And you don't know what to do

Just go and grab someone

You'd like to see in a bathing suit

And drive until the map turns blue

You can stay right there when the daylights gone

Play truth or dare and it won’t take long

'Fore you and her got nothing on

But water

All you really need this time of year

Is a pair of shades and ice cold beer

And a place to sit somewhere near

Water

Finn Wolfhard Fire From The Hip 2026

 

Smart guitar driven pop-rock with a touch of folk is hardly a rarity these days. And really, there's never been a time when it wasn't popular, at least as a fringe movement. Canadian actor/musician Finn Wolfhard's second solo album is a solid example.

Album opener and lead-off single I'll Let You Finish kicks things off in fine power-pop style. Other highlights include Common Side Effects, with it's driving beat, second single Tunnels, a pounding mid-tempo rocker, and Crater, a straight-ahead rocker with big fat guitars. His softer, folky side is represented by Lights Go Down and the more acoustic Maggie and Trail. The record closes with more acoustic guitars and solid harmonies on The Climb (Not That One).

Wolfhard has a high, slightly nasal, sometimes whiney voice that is effective. His songs are generally good, although sometimes they drive the same chords all the way through, and could use a more distinct chorus or middle eight/bridge section. Harmony vocals are good, and drummer Josh Resing deserves special mention for his particularly fine work. The first half has more energy than the second. 

It might not be a thrill all the way through, but it is darn good, especially when compared to some of the stuff that actors-cum-musicians have produced over the years. Wolfhard writes all the songs, and if he got help from one of the many song writing pros out there to flesh things out just a bit more, his acting career could end up being the lesser of his talents.

Jazz

I'm a lightweight when it comes to jazz. BeBop, Hard Bop, Fusion, Free Jazz, Modal Jazz, they all chase me away with aggressive and/or chaotic music, loud and frenzied horns. I've heard lots of those styles, and I can appreciate even what I do not enjoy. But I'm more of a Cool Jazz, West Coast Jazz, Pop-Jazz type of guy. I like female jazz singers, classic trios from the fifties and sixties, and generally more mellow, less challenging fare. This isn't a list of the finest jazz, and I'm not qualified for that list. But I think these are all very good records, and they strike a chord with me. I went through the stacks looking for my favorites. All of these records get played frequently around here.

Karrin Allyson In Blue 2002 There's a theme, and it is done brilliantly. 

George Benson The Other Side of Abbey Road 1970 Odd choice, odd record. Fascinating reinterpretation.

Kenny Burrell Midnight Blue 1963 Bluesy jazz guitar from a master.

Eva Cassidy Live At Blues Alley 1996 An amazing voice. Jazz-pop of the highest order.

Nat King Cole After Midnight 1957/2006 The trio with soloists on most songs. Cole's voice and piano are smooth as silk. The reissued 2 LP version from 2006 is sonic nirvana, but it will be great however you get to hear it.

John Coltrane My Favorite Things 1961 Not many sax players on this list, but this is irresistible.

Bill Evans Sunday at the Village Vanguard 1961 One of the two greatest piano trios at the top of their game. All the praise of Scott Lafaro is well-deserved. 

Bill Frisell Good Dog, Happy Man 1999 There's plenty of great Frisell records, this is my pick.

Melody Gardot My One And Only Thrill 2009 Sensuous. 

Original Chico Hamilton Quartet Complete Studio Recordings 2006 West Coast jazz, mellow and distinctive. 

Milt Jackson and the Monty Alexander Trio Soul Fusion 1978 Fine jazz piano trio plus Jackson's vibes. Jeff Hamilton and John Clayton many years before they were Diana Krall's rhythm section.

John Handy Hard Work 1976 Funky jazz-blues.

Ahmad Jamal At The Pershing: But Not For Me 1958 The other of the two greatest piano trios. 

Norah Jones The Fall 2009 I'm not sure this is jazz, but it's my favorite of Jones' work.

Stacey Kent Breakfast On The Morning Tram 2007 Kazuo Ishiguro provides the lyrics for Jim Tomlinson's music on the four best tracks. The rest is well-chosen covers. Kent's singing is always the star. 

Diana Krall Live In Paris 2002 The voice, the piano chops, the amazing small combo. Wow.

Peggy Lee Ultimate Peggy Lee 2020 Great vinyl pressing that combines her Decca and Capitol recordings in one place.

Robin McKelle Mess Around 2010 The best singer you never heard in your life. 

Maceo Parker Roots and Grooves 2008 Maceo with the WRD Big Band Cologne do a tribute to Ray Charles and then give a master class in funk. Indispensable. 

Frank Sinatra In the Wee Small Hours 1955 The concept album is invented. And Frank sings every song perfectly.

Frank Sinatra Classic Sinatra- His Great Performances 1953-1960 2000 A fine compilation of Frank's greatest fifties hits for Columbia, his peak period.

Frank Sinatra Moonlight Sinatra 1966 Nelson Riddle and Sinatra on Frank's most woefully neglected album. Strangers In The Night came out three months later.

Cal Tjader Soul Sauce 1964 I just love vibes.

Allen Toussaint The Bright Mississippi 2009 Toussaint's late career masterpiece, and an all-star supporting cast.

Cassandra Wilson Blue Skies 1988 Wilson takes on the great American songbook. Mulgrew Miller, Lonnie Plaxico and Terri Lyne Carrington provide trio support.

Randy Newman Sail Away 1972, Bad Love 1999

He's an unusually gifted songwriter and lyricist. Randy Newman made lots of interesting records over the years, and made many dollars writing songs for others, as well as thirty-one movie soundtracks. These two, made twenty-seven years apart, are his finest.

Sail Away opens with the title track, which Newman described as "a commercial jingle written for slave traders looking to recruit naive Africans", a beautiful delivery of very dark satire. Lonely At The Top outlines the downside of stardom. He gives Us All His Love is a not at all ironic ode to God. More like a nightmare, Last Night I Had A Dream tells of nocturnal fear while Simon Smith and the Dancing Bear is a curious story of strange fame. Old Man is an unsentimental look at the end of life.

The humor in Political Science is biting and a bit sardonic, and hilarious or scary depending on your outlook. As a Clevelander, Burn On has a special place in my heart. The seemingly slight Memo To My Son turns out to be as sentimental as Newman gets. The quaint Dayton, Ohio 1903 longs for a simpler time. You Can Leave Your Hat On, made famous by Joe Cocker, sounds both sexier and just a bit sad and creepy in Newman's superior version. The final track, God's Song, is one of the more nasty rants against religion ever put to music. 

Some of them seem small compared to the big statements, but everything is perfectly crafted with the appropriate support and ideal arrangements. Classic.

Bad Love contains some of Newman's most sentimental moments as well as some of his most biting satire. Newman himself said, "Before I started Bad Love, I wasn't exactly sure I could do a rock 'n' roll record at 65, or however old I was. But I was satisfied that it was a good record. Maybe my best record."

My Country starts things off with a lovely story of family, community and television. Shame presents a pathetic old man's lust for a younger woman. One of the highlights is I'm Dead (But I Don't Know It), a scathing indictment of rockers who have kept at it too long that includes the lines "Each record that I'm making, Is like a record that I've made, Just not as good". Then we get the sadly sentimental longing for lost love that is Every Time It Rains. That's followed by The Great Nations of Europe, an hilarious (or awful) evaluation of the barbaric tendencies of the "refined" European explorers of the Americas. The One You Love is a warning to men that can't read their lover's mind.

The World Isn't Fair is Newman's critique of the Aristocracy we all live in (or with). Newman sings the praise of untruths in the western swing of Big Hat, No Cattle. Better Off Dead tells the sad tale of one-sided love affairs, in his own funny way. I Miss You is a beautiful, sensitive, sentimental ode to a lost love. Going Home is a brief WWI soldier's story, and then I Want Everyone To Like Me ends the record on an upbeat swinging tune about just what it sounds like. It is both funny and true.

Some of them seem small compared to the big statements, but everything is perfectly crafted with the appropriate support and ideal arrangements. Classic.