One of China's biggest pop stars of the late 20th century, Sandy Lam rose to fame in the 1980s as a Cantopop singer before expanding her fan base significantly in the 1990s with stylistically diverse albums in Mandarin, Japanese, and English.
Bailey's first recorded solo performance in seven years is a splendid example of the guitarist at his finest. Two of the ten pieces are from a live concert, including an eerily attractive poetry recital by Bailey of Peter Riley's morbid "Dead She Dances." The other eight selections are short studio cuts. In all, this recording is what we have come to expect from Bailey: atonal swatches of sound, unique styling, changes in tempo, and astonishing creative splashes of acoustic guitar. Patterns emerge, dissolve, fade, and reappear, with the unexpected always the norm. Bailey's unique excursions might be compared to musical approximations of abstract expressionist art, with each number unfolding in unanticipated ways. While the highlight of this CD is Bailey's recital, in which he accompanies himself on guitar, there are plenty of wonderful moments on every track.
Big Brass marks one of trumpeter Benny Bailey's earliest efforts as a leader, but it is also one of the best releases of his career. Joined by an all-star septet including Phil Woods, Julius Watkins, and Les Spann in the front line, plus a rhythm section consisting of Tommy Flanagan, Buddy Catlett, and Art Taylor, Bailey and his musicians shine in their interpretations of charts by Quincy Jones, Hale Smith, Oliver Nelson, and Tom McIntosh.