Steve Earle’s dusty, gritty tribute to his late friend Townes Van Zandt issued last year is about what you can usually expect from “tribute” albums. The two met when Earle was still a kid and Van Zandt was already established.
A Ken Burns ten part PBS special will project itself onto your inner movie screen as Pat Conte plays on 19th century fiddle and banjo and occasionally vocalizes a set of old American tunes the accompanying press release describes as "old-time, primitive blues and archaic songs...".
I picked up The Best of Laurie Volume 1 (LES-4003) at a garage sale the other week and it includes “He’s So Fine” by The Chiffons, “A Little Bit O’ Soul” by The Music Explosion, “A Little Bit of Soap” by the Jarmels and “Hushabye” by The Mystics, among other tunes.
This superbly recorded, meticulously produced collaboration reminds me of an expanded version of Roy Rogers’ and Dale Evans’ “Happy Trails.” It’s packed with nostalgia and exudes a wistful, “see you around” vibe that at times gets downright suffocating.
On his eight or ninth album in little more than a decade, young Chicago native Andrew Bird continues on his smart way, singing, whistling and fiddling bemusedly but sincerely about life’s conditional conditions.
Cookin’ With Jaws and the Queen: The Legendary Prestige Cookbook Albums is a wonderful new 4LP stereo box set collection from Craft Recordings that offers cause for rejoicing among fans of soul jazz, and most specifically fans of saxophonist Eddie “Lockjaw” Davis in particular. Culled from three classic 1958 Cookbook session recordings, the albums in this box are some of the backbone entries of a musical artform that would explode in popularity over the next 20 years, and ultimately onward into the 21st century. Read Mark Smotroff’s ready-to-serve review to see if the Cookin’ With Jaws and the Queen box set is indeed tasty enough to add to your regular LP-listening diet. . .
I was wrong. These four Frankenstein monsters created by Capitol in 1964 out of parts stripped from various UK originals sound fantastic and yes, revisiting them after decades of neglect and dismissal opened a floodgate of intense memories-for me my freshman year at Cornell- of my roommate at University Halls #3, of a dorm band fronted by a kid names Ozzie Ahlers, and their big hit “Master the Bate,” and especially where and when I bought each of these albums, and how I reacted upon hearing them. When I heard the fake stereo version of “I Feel Fine” for the first time in 3 plus decades I flashed on the first time I ever heard the song: on WKBW, Buffalo, which was a clear channel we could pick up on the AM radio at night in Ithaca. I remember who I was with when the song aired, what he was wearing and even how the dorm air smelled. Hearing these songs strung together in this order creates a totally different vibe than the one you get listening to the UK originals: more muscular, and justd plain more American. That's both the problem and the pleasure, however.
A cynic might say that The Electric Recording Company chooses records to reissue by scouring Ebay, Popsike, Discogs and other used record sales monitoring sites and finds the most expensive, collectible records to reissue. This one, originally issued in 1961 on the French Ducretet-Thomson label is a solo piano recording of Debussy's "Estampes" and "Préludes Livre 1" played by the rather obscure French pianist Henriette Fauré.
If you think audio reviewers can be grouchy, search opinions of this performance of Mahler's 9th Symphony, his final complete work before passing away at age 51.
It's difficult to believe that British born cellist Jacqueline Du Pré was but 20 years old on August 19th, 1965 when she delivered this recorded performance in famed Kingsway Hall with Sir John Barbirolli conducting the London Symphony Orchestra.
Time was, and not that long ago (well a decade or so ago), when you could easily find original pressings of this breezy addition to Ella's song book series, either as a double LP set or as two individual volumes. Fitzgerald was as much a popular singer as a jazz great, appearing often on popular venues like The Ed Sullivan Show, so her LP sales were brisk—especially the Verve songbooks. I found my original copies of these at a house in Hackensack, NJ fifteen years ago. What an Ella find that garage sale was! A real fan was jettisoning her LP collection and I was more than happy to oblige for a buck apiece.
The ongoing Verve Records and Acoustic Sounds reissue series has once again delivered a new vinyl edition of an iconic album that is arguably better than the original in most every way. This new reissue of the October 1956 mono vocal jazz classic Ella And Louis features singing legend Ella Fitzgerald at a superstar-ascending crossroads, teamed with one of the architects of modern jazz, Louis Armstrong — a.k.a. “Pops,” a.k.a. “Satchmo,” a.k.a. “Satch.” Read onward to find out why this new 180g edition honors the now-rare originals while improving upon them in many ways. . .
This 1957 Norman Granz-produced jazz version of the George and Ira Gershwin opera (with libretto and key lyrical contributions by DuBose Heyward) starring Ella Fitzgerald and Louis Armstrong backed by a string enriched orchestra is a treat for so many reasons.
One of the fascinating aspects of collecting records, particularly if you're willing to haunt Goodwills and hit garage sales, are the variations you often find of the same record.