City Light Orchestra "Tain't What Cha Do City Light Records 1985

City Light Orchestra "Tain't What Cha Do City Light Records 1985 CAT# CL102

I thought I had discussed multiple City Light Orchestra releases by this point, but apparently, only just one (Light Orchestra). Looking at that release, appears they were using the moniker the Light Orchestra, but by this release, changed to City Light Records.

Like the prior, this is surprisingly good. I dig the vocalist, David Basse, who has a rough delivery. He's not a perfect singer, but his gimmick works. He's likely trying to channel some Louis Armstrong, but sometimes he has enough gravel in his voice to remind you of a cleaned up Tom Waits.

The album does suffer from some stylized production typical of the 1980's. When it goes that direction, it's loses it's appeal, becomes more about style than it does jazz. Oddly, the group traveled to Cerrillos, New Mexico to record the album, for a Kansas City based jazz group, but whatever floats their boat. Also, the cover would never give anyone the idea this is a jazz LP, cover makes you think terrible new-wave.

David Basse, still making the rounds, apparently

The Light Orchestra Raised Spirits City Light Records 1983

The Light Orchestra Raised Spirits City Light Records 1983 CAT # SRK 13429

This is actually pretty good.  The cover is pretty lame.  Then you flip to the back you see a collection of vocal jazz covers from some Kansas City locals, that doesn't help.  Then you realize it's from the 80's and it should be the third strike.

If you're brave enough to listen, you'll find it's an enjoyable take on classic-era Swing.  It does have a hokey, let's remember the KC Jazz greats thing about it, but hey, Laverne Barker plays bass for the band and he's got a legitimate resume.  The production isn't awash in 80's studio effect, it sounds live and classic.  The highlight of the album is the rough, raspy, vocals of drummer David Base.  Who, upon first listen, I wouldn't have guessed he was a skinny, white dude.  His expressive voice and it's texture when combined with the sometimes theatrical arrangements of the tracks can put the album in Tom Waits type territory with out all the cryptic poetry.

The players on this LP, especially David Basse, can be found on a handful of 80's era KC Jazz.  Apparently there was a short lived scene for this type of thing.  It'd be interesting to know how successful they were around town and how the albums fared concerning sales.

Goodbye Porkpie Hat