It's About Time is a studio album by Hank Williams Jr. released by Nash Icon Records on January 15, 2016. The album includes re-recordings of previously released material and new songs. The album debuted at No. 2 on Top Country Albums, the highest he's reached on the chart since the release of Lone Wolf in 1990. The album also debuted at No. 15 on Billboard 200, selling 24,000 copies in its first week. It sold a further 9,000 copies in its second week. The album has sold 60,800 copies in the US as of March 2016.
Jazz musicians of any renown will eventually tour and record in Japan, but Midge Williams must be the only American artist whose recording career actually began there. She recorded in both Japanese and English in the '30s, working with local groups in China as well as Japan - all signs of the accomplished versatility that would later make her in demand with great jazz bandleaders such as Fats Waller, Louis Armstrong, and Teddy Wilson. This singer was not always content to be a vocalist in someone else's band, no matter how big their names were, so she also fronted her own group known as Midge Williams & Her Jazz Jesters.
Bassist Buster Williams had one of his few opportunities to lead a record session on this diverse set which has been reissued on CD (with an alternate take of "I Dream Too Much" added to the original program). Of the six selections, Williams has a duet apiece with Kenny Barron (who plays electric piano), pianist Jimmy Rowles and vibraphonist Roy Ayers ("My Funny Valentine"). Two other numbers feature the quartet of Williams, Ayers, Barron and drummer Billy Hart while the leader's original "Prism" has the quartet joined by singer Suzanne Klewan and percussionist Nobu Urushiyama. The music ranges from slightly commercial to introspective and hard swinging, and its variety (plus an opportunity to hear bassist Williams in the lead) are two good reasons for postbop jazz collectors to pick up this CD.
A totally excellent Buster Williams album from the 70's, and one of the best (and hardest to find). The bassist has always been one of our favorite talents – and this little gem is one of the few albums he's cut on his own, a majestic bit of straight-ahead jazz and bop, recorded with a very hip lineup!
Although not quite at the level of profundity of his teacher Gustav Leonhardt's recording, Kenneth Gilbert's 1983 recording of Book 1 of Bach's The Well-Tempered Clavier does have a style and polish that Leonhardt's too often lacked. Thus, while Leonhardt goes further into some of the minor-key fugues to find intellectual and spiritual depths that Gilbert does not plumb, Gilbert's playing is so much more elegant and graceful than Leonhardt's that it is difficult to choose between them. For listeners who approach The Well-Tempered Clavier as a volume of virtuoso works whose success depends on the effortless refinement of the player, the Gilbert, with its superbly remastered sound, will be the one to get. For listeners who approach The Well-Tempered Clavier as a volume of prayers written as preludes and fugues, the Leonhardt will be preferable. Both are superb and both belong in any Bach collection.