Louis Armstrong and Duke Ellington were (and are) two of the main stems of jazz. Any way you look at it, just about everything that's ever happened in this music leads directly – or indirectly – back to them. Both men were born on the cusp of the 19th and 20th centuries, and each became established as a leader during the middle '20s. …
Offered at auction with no reserve, serial number 0940 from Classic Records limited edition Deluxe 1S Edition set of audiophile grade re-issues of 10 RCA Living Stereo LPs. The sound quality of these Classic Records re-issues is legendary. All 10 LPs are brand new, still in the original sealed outer sleeves. Each bears a serial number label as on the box, showing the number 0940.
A silly title, but a funky little record – one of the only ones we've ever seen from guitarist Jay Berliner, and one of the best cookers from the early 70s Mainstream Records years! The sound here is almost soundtrack funk at points – lots of up-front lines from Berliner on guitar – riffing away over backings that include organ and keyboards from Paul Griffin, congas from Ray Barretto, drums from Jimmy Johnson, and additional rhythm guitar from Cornell Dupree. Wade Marcus arranged, and the sound is tight without being slick – a great sort of Kudu Records-styled groove – and an especially nice setting for Jay's guitar.
Official Release #105. All Masters Produced by Frank Zappa. Frank Zappa For President? You betcha! We know at various times he wanted to run for office. In the spirit of the 2016 dramatic presidential election adventures, comes a release that gives us a glimpse into what could have been. This album is comprised of unreleased compositions realized on the Synclavier along with other relevant tracks mined from the Vault with a political thread tying it all together. Don't forget to Register and Vote!
One of the best songwriters of the 1960s and early '70s, with an unassuming style that managed to sound like Fred Neil, J.J. Cale, Jim Croce, Randy Newman, Leonard Cohen, and early Tom Waits by turns (and sometimes all at once), Jesse Winchester would have been as well known and regarded as any of these had history not swept him from Louisiana, where he was born, to Montreal, Canada, where he took up residence in exile (like thousands of other young men at the time) to avoid the Vietnam War. Winchester was working gigs as a lounge pianist when his draft notice came, and while he joined a couple of local bands after his flight to Canada, his life as a musician had been torn apart.
This is a good record, though not the Leo Kottke album to start with, as it is not representative of his usual work – it's mostly a vocal record, and a very country-flavored record at that, with Kottke's baritone, reminiscent in some ways of Leonard Cohen (and even moving into what one might consider Jim Morrison territory), serving as the dominant instrument on six of the ten tracks. His flashy 12-string playing and Cal Hand's Dobro do come to the fore on "Tilt Billings and the Student Prince." Tom T. Hall and Ron Elliott of the Beau Brummels are among the songwriters represented. Among the intrumentals, "A Good Egg" is just the kind of light-fingered, light-textured virtuoso piece that one buys a Leo Kottke album expecting to find, and much of the rest shows off his talents in some unexpected directions. The sound on the One Way label CD reissue is first rate as well.
In the jazz world, Vienna is about as far from New York's Lincoln Center as you can get. It follows that Mathias Rüegg's Vienna Art Orchestra has about as much in common with Wynton Marsalis' Lincoln Center big band as a Sacher torte has with a Hostess Cup Cake; while they share some ingredients, the Austrian product satisfies on a more profound level. By the turn of the century, the Lincoln Center paradigm defined the jazz big band as a finished concept – locked into the past, serving mostly as a repertory ensemble. The VAO, on the other hand, while hardly ignoring traditional jazz verities, lives in the present and looks to the future.
With three drummers, electric guitar, and Highland pipes, Saor Patrol can make a big noise – and here they let out all the stops and do just that. With the Gibson on full distort, they manage to come across as distinctly fearsome, although over the course of a full album it ends up as repetitive, with only a few real variations like "Badholly" (using the hambone rhythm) seeming strikingly different. It's probably far more effective in concert, where the sound and spectacle would be overwhelming, but in the cleaner sonic space of the studio it can't quite work its magic so well. Two Headed Dog - Duncarron Electric: Scottish pipes & drums untamed - with the addition of powerful electric guitar and bass arrangements. This is the hard rock version of Saor Patrol’s album “Duncarron” (not all songs are the same).
Robert Walter hails from the Greyboy academy of jazz. Spirit of '70 is a solid outing for him, but the funk/jazz legend Gary Bartz steals the show. On tracks like "Corey's Snail and Slug Death," Bartz plays with restraint, frothing with fresh ideas and confidently reaffirming his status as an underrated jazz giant. "Volcanic Acne" is the most cohesive track on the album and shows just how exciting Walter's playing can be when he's inspired. Walter's desire to re-create the "'70s spirit" unfortunately fails to reinvent it.