It's hard to call The Globe Sessions a stumble, but its stripped-down, straightforwardness paled in comparison to the dark pop-culture kaleidoscope of Sheryl Crow's eponymous second album. That's why C'mon, C'mon, Crow's long-delayed fourth album, is such a delight – it's the sunny flip side of that masterpiece, a skillful synthesis of classic rock and modern sensibilities that's pretty irresistible. Crow has turned into the professional she always acted she was – she not only crafts songs impeccably, she knows how to record them, filling the record with interesting sonic details, whether it's the Steve Miller-styled "woo hoo"s on "Steve McQueen" or subtle Mellotrons on "Over You."
Petula Clark, CBE (born Sally Olwen Clark, 15 November 1932) is an English singer, actress and composer whose career spans seven decades. Clark's professional career began as an entertainer on BBC Radio during World War II. During the 1950s she started recording in French and having international success in both French and English, with such songs as "The Little Shoemaker", "Baby Lover", "With All My Heart" and "Prends Mon Cœur". During the 1960s she became known globally for her popular upbeat hits, including "Downtown", "I Know a Place", "My Love", "A Sign of the Times", "I Couldn't Live Without Your Love", "Colour My World", "This Is My Song" and "Don't Sleep in the Subway", and she was dubbed "the First Lady of the British Invasion". She has sold more than 68 million records.
Here is the 12th volume in the complete chronological recordings of Lionel Hampton as reissued by the Classics label. It opens with Hamp's final five recordings for the MGM label, waxed in Los Angeles on October 17, 1951. This was a 20-piece big band using charts written by Quincy Jones, and the music it made feels much different from what's to be heard in the next leg of Lionel Hampton's odyssey, a Norman Granz-produced quartet session with Oscar Peterson, Ray Brown and Buddy Rich, recorded in New York on September 2, 1953. While the big band sides are exciting and fun, with a hip vocal by Sonny Parker on "Don't Flee the Scene Salty" and a singalong routine led by Hamp on "Oh Rock," the quartet swings cohesively, stretching out for six, seven or nearly eleven minutes, for the LP era had begun and Norman Granz encouraged extended improvisations. The combination of Oscar Peterson and Lionel Hampton, whether cooking together on "Air Mail Special" or savoring the changes of a ballad like "The Nearness of You" made spirits to soar and sparks to fly.
Back in New York after three years spent gigging and recording in Europe, a mature and rejuvenated James Moody resumed the endless North American scuffle to get by as a contemporary jazz musician. Volume five in the Classics James Moody chronology presents 16 rare Mercury recordings made between October 1951 and June 1953, followed by eight Prestige titles from January and April, 1954. The first four tracks feature baritone saxophonist Cecil Payne; high points include the rowdy, bristling "Moody's Home" and "Wiggle Waggle," an R&B rocker that sounds like something right up out of the King record catalog. Beginning with the material recorded on May 21, 1952, Moody is heard leading a group largely composed of players who, like him, had worked in Dizzy Gillespie's big band. Two of these individuals – trumpeter Dave Burns and baritone saxophonist Numa "Pee Wee" Moore – show up regularly in the front line of Moody's excellent recording ensembles between 1952 and 1955.