Beach Blast: Shag & Blues Compilation, Vol. 1 compiles 17 tracks of modern-day beach music favorites. Beach music started in the '60s with the laid-back pop-soul sound of groups like the Chairmen of the Board and smooth soul men like Brenton Wood. The scene is still going strong today, and encompasses blues artists as well as soul sounds. This disc is split between blues and soul, with many old-school soul names popping up, such as Clarence Carter, William Bell, and Tyrone Davis.
The late 1980s also saw the emergence of Yellow Dog, a label specialising in Beatles studio outtakes, who released the CD series Unsurpassed Masters in quality similar to Ultra Rare Trax; Yellow Dog, like Swingin' Pig's parent company Perfect Beat, was registered in Luxembourg, which had the most liberal copyright laws among EU countries. Yellow Dog released Unsurpassed Demos in 1991, featuring 22 songs from the 1968 Kinfauns (Esher) demos, only some of which had been previously made public during the radio series The Lost Lennon Tapes that debuted in 1988.
Here is a recording that at last does justice to the extraordinary music of Hotteterre. Hotteterre's music is surely some of the most lyrical and melodic music ever written for the transverse flute. It some of the first music ever written to feature the instrument. Dupré breathes new life into these three suites, which are both joyous and dark. The color produced by the skilled combination and variance of harpsichord, viola ga gamba, and theorbo playing the continuo part is fantastic. This is a superlative recording, worthy of a price many times what it is. I have heard several recordings of these suites, and this is certainly the best.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Nat Adderley's not actually busking in the subway – but instead playing a smoking little set at the Subway Nightclub in Cologne – working with an excellent group that includes Vincent Herring on alto sax, and some excellent rhythm work from the trio of Rob Bargad on piano, Walter Booker on bass, and Jimmy Cobb on drums! The tunes are all nice and long, and have a stretching, soulful feel that's really great – and which gets past the "classic" soul jazz cliches that can sometimes mar other Adderley albums from later years. Nat's in fine fine form, and Herring seems to help him unwind in a hip groove that's really carried off well – and the album's got a richness that easily makes it one of the best later sessions from Nat you can find! Titles include "The Chant", "Almost Always", "The Big J", "Plum Street", and "The Scene".