Album Reviews

Sort By: Post DateTitle Publish Date
Michael Fremer  |  Oct 01, 2005  |  1 comments

The title track is not twice as good as Desmond's surprise jazz “hit” “Take Five,” immortalized on the Time Out album recorded with his regular band mates in the Brubeck quartet, but it has its own serpentine charm, and having Jim Hall comping on guitar instead of Brubeck on piano gives the track a far different, more delicate texture.

Michael Fremer  |  Oct 01, 2005  |  1 comments

If you're expecting the young, daring Brian Eno to materialize after not making a vocal album for 28 years, you'll be disappointed. This is the reflective, contemplative work of a mature artist more interested in setting the table than in hacking it up and eating off of the floor.

Michael Fremer  |  Oct 01, 2005  |  1 comments

The Concord catalog is filled with great sounding recordings made by top tier artists in the later phases of their careers. There's nothing wrong with that. It's to label founder and producer Carl E. Jefferson's credit that he had a jazz label vision and saw it through at a time when jazz was on the decline commercially.

Michael Fremer  |  Oct 01, 2005  |  1 comments

Euphoria Jazz is a division of Bob Irwin's Sundazed. Sundazed licensed this and other Dawn Records jazz titles from Shout Factory, itself a division of Retropolis LCC. Shout Factory is a recent entity created by Richard Foos, an original founder of Rhino (along with Harold Bronson).

Michael Fremer  |  Oct 01, 2005  |  1 comments

From the second the stylus hits the…er I mean the laser hits the pits, you'll know this is a stunning sounding live recording of a jazz trio. You'll feel as if you're in the Up Over Jazz Café, where this set was brilliantly recorded by Kato Hideki.

Michael Fremer  |  Nov 01, 2005  |  0 comments

For sound adventurers in the early days of stereo, no one’s musical arrangements fit the bill like Esquivel’s. They make Enoch Light’s close-miked percussive stuff on Command sound like punk-rock.

Michael Fremer  |  Nov 01, 2005  |  0 comments

Analogue Productions’ third series of limited edition 45rpm 180 gram “twofers” will surely be as popular as the first two sets, with key titles selling out and fetching big bucks on the used market. The musically well-balanced offerings from the Riverside, Pablo and Prestige catalogs controlled by Fantasy Records include The Tony Bennett Bill Evans Album, Bill Evans’ How My Heart Sings and Interplay, Miles Davis’s Workin’ and many other long sought after jazz and blues titles.

Michael Fremer  |  Nov 01, 2005  |  0 comments

Daniel Lanois begins this instrumental excursion with a great wash of flanged psychedelic backwash, ribbed with pedal steel guitar in an upward thrust of musical birth that oozes from the speakers like sonic Cool-Whip.

Michael Fremer  |  Nov 01, 2005  |  1 comments

For some reason, audio enthusiasts have a need to latch onto female vocalists with a passion that borders on the fanatical. Once they find her, they never let go. The careers of Amanda McBroom, Jennifer Warnes, Diana Krall and Janis Ian have all benefited from this compulsive/obsessive behavior. I have nothing against it. I just find it fascinating.

Michael Fremer  |  Nov 01, 2005  |  1 comments

Sad but true: a generation of white Americans first came to know the blues—a black American art form—by hearing it played second-hand thanks to the dedication of die-hard British blues enthusiasts like Long John Baldry, John Mayall, Eric Clapton, and of course, Fleetwood Mac’s Peter Green. The list goes on.

Michael Fremer  |  Nov 01, 2005  |  0 comments

These ten acoustic tunes cut by Buddy Guy on 6 and 12 string guitar, and Junior Wells on harmonica back in 1981 during a visit to Sysmo Studios in Paris, France states the case for the acoustic blues as well as any album I can think of, but if you’re not into the genre, don’t expect this reissue to pull you around. Well, take that back: the sound may drag you in.

Michael Fremer  |  Dec 01, 2005  |  1 comments

A trademark dispute with National Periodic Publications (D.C. Comics) over the original cover art postponed the release of this record. Because Metropolis, Illinois is officially recognized by D.C. Comics as “the home of Superman,” Mr. Stevens references it in the lyrics and had the cover art show the man of steel flying in front of Chicago’s John Hancock Tower. D.C. Comics sued, in what definitely gets the company “dick move of the musical year” award from me. The legal problems delayed the release of the album. While it was originally in the November “In Heavy Rotation,” I’ve moved it here because of the delay.

Brent Raynor  |  Dec 01, 2005  |  1 comments

Having a good music dealer is as important as having a great accountant who knows all the funky tax loopholes, because both can steer you down the right path and save you money. Lets get real here for a minute: even if you were to spend months on end reading all the music rags out there, there's bound to be a lot of albums that'll fly well below your well-heeled radar. Add to that the sheer volume of new music coming down the pipe, and you can be forgiven for not knowing what's the latest album that'll blow your mind.

Mike McGill  |  Dec 01, 2005  |  1 comments

How long have I been waiting for a good-sounding version of this mysterious and magical music? Since way back before I knew anything about Good Sound as we formally know it, that's for sure!

Michael Fremer  |  Dec 01, 2005  |  0 comments

Death Cab For Cutie's Benjamin Gibbard probably reads “Romeo and Juliet” as light comedy. Calling him a “hopeless romantic” would be an understatement of Grand Canyon-like proportions. If Bryan Ferry wears his heart on his sleeve, Gibbard wears it on a Times Square billboard with a seriousness I can't recall hearing expressed outside of opera.

Pages

X