01 - Bye Bye Love [00:05:43]
02 - Candy O [00:03:42]
03 - Double Life [00:03:28]
04 - Good Times Roll [00:04:39]
05 - Let's Go [00:03:37]
06 - Move It On Over [00:04:43]
07 - I'm So Lonesome I Could Cry [00:04:07]
08 - Cold Cold Heart [00:03:38]
09 - Ramblin' Man [00:03:16]
10 - Your Cheatin' Heart [00:03:36]
11 - Blue Pepper [00:02:38]
12 - Rockin' In Rhythm [00:04:09]
13 - Daydream [00:03:24]
14 - The Mooche [00:03:50]
15 - Mood Indigo [00:03:18]
16 - Ace In The Hole [00:03:16]
17 - Too Darn Hot [00:04:17]
18 - Ev'rytime We Say Goodbye [00:03:27]
19 - Miss Otis Regrets [00:02:16]
20 - Anything Goes [00:04:19]

Charlie Hunter – guitars
Scott Amendola - drums

Over the next four months Hunter and Amendola are releasing four 5-track EPs, each focusing on the music of a particular artist or act. The project opens with ingenious distillations of Duke Ellington/Billy Strayhorn gems such as “Rockin’ In Rhythm,” “Daydream” and “Mood Indigo.” From Cole Porter’s songbook, they interpret standards, including “Too Darn Hot,” “Every Time We Say Goodbye” and “Anything Goes.” Country music and jazz are often cast as antithetical styles, but the truth is far more complicated. For Hunter and Amendola, a great song is simply a great song, and they find plenty of grist for improvisation in Hank Williams’ classics like “Cold Cold Heart,” and “Ramblin’ Man.” They find fertile ground even further afield from typical jazz fare in the music of new wave rockers The Cars, digging into hits like “Candy-O,” and “Let’s Go.” “The idea is to do these four and see how people respond,” Hunter says. “We started thinking why do we keep making 10-song CDs. I don’t necessarily want to do 10 Hank Williams songs, but five can work well. As long as the song is good we can put it through the mill, like what we did with T.J. Kirk and the Bob Marley album I made.” --- charliehunter.com

It seems unlikely that two musicians were ever better suited to play with each other. Guitarist Charlie Hunter and drummer Scott Amendola have made a habit out of closing out the year at Kuumbwa, and we’re so glad they have. 2013 saw the release of Pucker, an album of Amendola’s compositions, but recently the duo has been rolling out their latest project — a series of four duo EPs featuring tributes to The Cars, Cole Porter, Hank Williams and Duke Ellington. As Hunter and Amendola have always shown, a great song is a great song, regardless of genre. --- kuumbwajazz.org

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1 	Athens 	2:43
2 	Astronaut Love Triangle 	4:53
3 	Welcome To Frankfurt 	4:05
4 	Difford-Tilbrook 	3:13
5 	A Song For Karen Carpenter 	5:53
6 	Baboon Strength 	5:32
7 	Fine Corinthian Leather 	6:05
8 	Porter-Hayes 	5:02
9 	AbadabA 	7:10

Charlie Hunter - 7-String Guitar
Erik Deutsch - Organ, Casio Tone
Tony Mason – Drums

After a series of major label releases, the last of which was a recording with a new trio, Charlie Hunter makes significant changes for Baboon Strength. The idiosyncratic guitarist's innate joie de vivre remains constant, however, as he decides to release the album independently and, prior to that, recruits a new drummer.

Tony Mason actually commences the album on "Athens" with a heavy downbeat that is his calling card—predecessor Simon Lott, who appeared on Mistico (Fantasy Jazz, 2007), was a much busier percussionist. His muscular approach to the music becomes even more prominent on "Welcome to Frankfurt," where his simple approach accentuates the low notes emanating from Hunter's seven-string guitar. The bottom contrasts effectively with the textures Erik Deutsch coaxes from his Casiotone keyboard.

There's plenty of sing-song melody bandied about between Hunter and Deutsch during "Astronaut Love Triangle" and "Difford-Tilbrook," so much so that a paean to the songwriters of Squeeze is perfectly appropriate: these new originals of the Hunter's boast all the hooks of a pop tune minus the lyrics to sing along with. Perhaps that accounts for references like "A Song for Karen Carpenter" and "Porter-Hayes." Hunter's homage to the Stax duo's gritty creations may be a far cry from the female songsmith's, but they're almost equally likely to fulfill the jazz musician's hunger for a good melody, upon which to improvise and what essentially is how Hunter is composing these days.

If there's another prevalent motif in California Bay Area native's most recent work, as he's transformed his trios in the opposite direction of the more abstract likes of his Groundtruther project with drummer Bobby Previte, it's an inclination to let it rock like a garage band. But rather than simultaneously create a conflict with his growing fondness for tunes, the altered approach expands the range of his trio. "AbaDaba" features guitar textures far less smooth than Hunter parlayed earlier in his career on eight-string guitar. The considerably sharper edge he now wields provides an effective foil for Deutsch's fluid organ lines. Tony Mason punctuates it empathetically, not to mention gleefully.

"Fine Corinthian Leather" finds the threesome inhabiting a quiet space enhanced by the clear, though definitely not antiseptic sound production. Everyone in the Charlie Hunter Trio resides on common ground and they seem to be simultaneously finding even more in common as they play together. The end result often sounds like more than just three players, a wonder of wonders for those unfamiliar with Charlie Hunter and only a little less so for those who have followed the intrepid guitarist's career. ---Doug Collette, allaboutjazz.com

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