Review: Catherine Russell Honors the Classics with CAT AND THE HOUNDS at Birdland

Catherine Russell, the much-acclaimed veteran jazz vocalist, took to Birdland on September 3rd to celebrate the release of her new album with Colin Hancock and the Jazz Hounds, entitled Cat and the Hounds. The set was split into two halves – the first, more traditional jazz cabaret fare, a mix of classics and hidden gems. For the second half, however, Russell was joined by the Jazz Hounds to showcase some highlights of their new album, as well as the fascinating inspiration behind the project.

The first half was anchored around Russell herself, allowing her to showcase her vocal skills and charisma on stage. Name-dropping and channeling jazz legends such as Bessie Smith and Rosa Henderson, Russell excels on numbers like "He May Be Your Dog, But He’s Wearing My Collar" and other delightfully tongue-in-cheek tunes. Russell effortlessly glides over 5/4 swings and jaunty piano, making for a thoroughly fun experience. Her joy onstage is infectious, as is her deep appreciation for jazz music. 

The second half of the show began with Colin Hancock, the Texas-born trumpeter and bandleader for the Jazz Hounds, coming onstage to bring the audience back to the early days of jazz. Hancock spoke of his experiences as a music archivist, learning from his mentors and eventually deciding to embark on his own project of going through old wax cylinder recordings of jazz music from as far back as the 1910s. Some of these tunes, Hancock explains, hadn’t ever been recorded again since those early days, making them effectively lost to most people. Some were not even written down, leading Hancock to have to transcribe them himself by ear before the band could record them. Songs from these “race records” (as the works of Black jazz musicians were often called) serve as the setlist and inspiration for the second half of the show, as well as the new album he and his band have recently released with Russell.

Texas has a rich history of jazz that Hancock makes a point to highlight. Similar to neighboring Louisiana, the unique mix of cultures within the lone star state both enabled and shaped the genre’s early development, even if many of those artists aren’t well-remembered. One particularly unique feature of the show (and the album) is the use of a bass saxophone on some songs, which brings a wonderfully unique sound to the experience. Vince Giordano helms the rarely-used-anymore brass instrument for the show quite well, showcasing its potential as well as his own skill.

"West Indies Blues" is a song that serves to highlight the Caribbean roots of much of jazz, a fun tune about the experience of wanting to return to one’s original home. Russell remarks that Panama Limited Blues, while ostensibly about the train car of the same name that ran from Chicago to New Orleans in the 1920s, reminds her of her own roots. Her father, legendary jazz pianist Luis Russell, was born in Panama, before he moved to the US to play with jazz giants like Louis Armstrong. The two numbers serve as homage to the genre’s influences and feature some excellent performances from Russell and the band. Russell’s vocal talents shone just as bright in the second half of the show, taking center stage for some numbers yet providing space for longer instrumental passages for the band to shine as well.

Jazz is often called the most American of art forms. It owes its existence entirely to the melting pot of the United States, drawing on diverse influences to create something new entirely. Russell and Hancock, with this show and their new album, have showcased an often overlooked corner of the genre’s past, one that is rich in both historical value and musical skill.

Learn more about Catherine Russell at www.catherinerussell.net. The Cat and the Hounds album is available here.