Keep or Cull – Jonah Jones’ Along Came Jonah

Born in 1909, Jonah was nearly sixty when he landed at Motown for a couple of LPs in the late 60s, starting with this one.

IMG_20200318_130341You might think, based on that title, that he does Along Comes Mary, a top ten hit for The Association.

He does not.

Instead, the jazz trumpeter does a mix of then-contemporary pop hits, jazz standards, and a couple of Motown songs.

And the results are… well, pleasant enough.

For example, here’s his take on My Girl.

 

Nice, but not revelatory.

The same is true for the rest of the songs.

IMG_20200318_130405On For Once in My Life, Jonah (who sings it) and the backing musicians slow the tempo down a bit, leaning more into the reflective nature of the lyric, and thus giving it more of a lounge sound.

On Love is Blue, Jonah does his best impersonation of Herb Alpert’s Tijuana Brass.

On I Say a Little Prayer, the band starts with a little allusion to Walk on By before he comes in for a measured take on the Bacharach classic.

And on The End of Our Road, he and the backing musicians, likely the Funk Brothers, very nearly veer into the kind of funk that Jr. Walker traded in, although the results here are cleaner and brighter.

In many ways, it is the epitome of a sixties album in that it gives you a survey of the current scene in a way that is clearly meant to appeal to nearly anyone.

But despite the sweetness of Jones’ tone, which does hearken back to the swing era, and the 60s arrangements, not much really stands out.

And what does is more for novelty sake, such as the string laden stroll through the Beatles Michelle, which closes out the set.

You get the sense that someone wanted Jones to be hip, but not too hip, and faithful to his legacy, but not really draw on it to his benefit.

So it never really comes on.

And that makes it a cull for me.

 

The Ruth, the whole Ruth…

In light of the reissue and reassessment campaigns that have been mounted for artists like Betty Davis, it’s kind of strange to me that no one has thought to do the same for Ruth Copeland.

An English lady with ‘North Sea wildness in her bones’ (her words) Ruth apparently pursued a music career after her mother died, and made her way across the Atlantic in the swinging sixties to Detroit, the Motor City, because she had a sister or brother living there.

(The details on Ruth are pretty hard to come by online, with some speculating she didn’t write her songs.)

She gigged for a while and managed to release a single on Carla Records, albeit under the name Kelly Michaels. This is the b-side, which was produced by label-owner Ollie McLaughlin:

Continue reading “The Ruth, the whole Ruth…”