Review: Adrianna Marie And Her Groovecutters – Double Crossing Blues
Posted on: Sunday, Apr 20, 2014
Adrianna Marie And Her Groovecutters – Double Crossing Blues
(Midnight Owl Records)
Adrianna’s parents were members of the folk group The Carolees who, during the sixties travelled as a family unit across the Eastern Seaboard of America entertaining people at many a venue. Due to this almost gypsy style upbringing Adrianna tasted the thrill of performing in front of an audience at a very early age. When the family were at home, the house was overflowing with music which ranged from the likes of Memphis Minnie and The Kingston Trio through to Louis Jordan; from the age of ten she started her career in the family business performing in summer shows throughout the length and breadth of New England. Always eager to spread her wings and strike out as a solo artist she left her home and moved to California at the age of 17.
After spending a good deal of her youth soaking up the sweat staining, nicotine thick and alcohol soaked atmospheres of the late night blues and jazz clubs of Bridgeport, Connecticut and New York City and indeed at one time, striding along the fashion catwalks; she began to focus on her singing career and in more recent times she has lent her vocal talents to recordings made by such artists as The Mannish Boys, Mud Morganfield, Finis Tasby and Kirk Fletcher.
Now, with her latest collection of numbers recorded with her band The Groovecutters, who consist of; L.A. Jones; guitars, Dave Deforest; upright bass, Ron Felton and David Kida; drums, Lee Thornburg; trumpet and trombone, Ron Dziubla; tenor and baritone saxophones and last but not least, Larry ‘Big House’ David Cohen; piano.
The 11 numbers merge seamlessly together in waves of warm gushing good time music, that ranges from Louis Jordan’s Jump and Jive to the big band sound of Glen Miller, interspersed with the late night martini clinking sounds of a very mellow late night Jazz club; on Louis Jordan’s “Is You Is, Or Is You Ain’t My Baby?” a smoky solo trumpet pleadingly wails and weaves in between a cruising cloud of syncopated saxophones that merely serve to underpin Adrianna’s slinky and velvety vocals that sensuously ask you, that very question.
Underneath a very sweet vocal refrain delightful swaggering, huffing and puffing saxophones take the lead on that lovely blues shouter “Cherry Wine”, while a very mellow piano and T-bone Walker inspired guitar lay a footappin’ trail.
One of the most satisfying aspects of the music here is that Adrianna’s voice is never stretched or strained beyond its natural limitations, where others might fail she just cruises through. The rolling, slowburner that is Johnny Otis’s “Double Crossing Blues”, strolls along with the reverberating elastic band sounding bass, underpinning a tinkling and quietly cascading piano with gently urging guitar for support. On “That’s A Pretty Good Love”, a nifty little rumba beat is well supported by Albert king inspired guitar runs while the saxophones keep the hips swinging.
Helen Hume’s “I Ain’t In The Mood”, possesses very strong elements of Chicago’s legendary Chess Studio atmosphere with Larry ‘Big House’ David Cohen nailing the classic harmonica sound to the floor, while Adrianna bawls out her dissatisfaction. “Sad Night Owl”, is an instrumental blast, lazy, hazy swaying brushwork carries a babbling brook of sweet vamping twinkling and shining piano while a deliriously smooth and enticing Les Paul inspired crooning guitar draws you into its serene pool of pleasure.
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