What Are You Listening To?

[Dennie]

Today's work truck music....

Johnny Cash At Folsom Prison -- 20 Bit Remastered CD

Johnny Cash

1999 Columbia Legacy

Amazon.com essential recording

Johnny Cash had been breaking new ground for a decade when At Folsom Prison suddenly made the world at large take notice. The interaction of a volatile prison population starved for entertainment and a desperately on-form Johnny Cash was electrifying. His somber machismo finally found a home. The songs, which included every prison song Cash knew ("I Got Stripes," "The Wall," "25 Minutes to Go," "Cocaine Blues," plus his own "Folsom Prison Blues") were tailored to galvanize the crowd. This set is all about atmosphere. Live at the Grand Ole Opry this ain't. The 1999 version drops the San Quentin portion of the original CD reissue, instead adding three cuts to complete the full and uncensored Folsom show. --Colin Escott

"Folsom Prison Blues" – 2:42
"Busted" (Harlan Howard) – 1:25
"Dark as a Dungeon" – 3:04
"I Still Miss Someone" – 1:38
"Cocaine Blues" – 3:01
"25 Minutes to Go" – 3:31
"Orange Blossom Special" – 3:06
"The Long Black Veil" – 3:58
"Send a Picture of Mother" – 2:05
"The Wall" – 1:36
"Dirty Old Egg-Suckin' Dog" – 1:30
"Flushed from the Bathroom of Your Heart" – 2:05
"Joe Bean" (B. Freeman, L. Pober) – 3:05
"Jackson" (with June Carter) – 3:12
"Give My Love to Rose" (with June Carter) – 2:43
"I Got Stripes" – 1:52
"The Legend of John Henry's Hammer" (Johnny Cash, June Carter) – 7:08
"Green, Green Grass of Home" – 2:13
"Greystone Chapel" – 6:02

 

[Dennie]

Three Flew Over The Cuckoo's Nest -- CD

Bela Fleck & The Flecktones

1993 Warner Bros. Records

The Flecktones' best studio album, December 30, 1998
By A Customer
This review is from: 3 Flew Over the Cuckoo's Nest (Audio CD)

This is the one! The departure of Howard Levy and his often annoying harmonica (Note: Howard, loved your keyboard playing but that harp had to go!) forced the three remaining 'Tones into a different, jazzier direction than before. Victor's writing really comes into its own on this album (his several tunes here are jaw-droppingly great), and Future Man's synth-drumming style improves exponentially. Technically, the all three are really on fire. Anyone who own's even one Flecktones album needs to get this one.

"Vix 9" (Victor Wooten) – 4:27
"At Last We Meet Again" (V. Wooten) – 5:34
"Spunky and Clorissa" (Béla Fleck) – 4:30
"Bumbershoot" (Fleck) – 5:22
"Blues For Gordon" (Fleck) – 5:16
"Monkey See" (Fleck) – 3:16
"The Message" (music: Fleck, V. Wooten, Future Man; lyrics: Joe Wooten) – 4:03
"Interlude (Return of the Ancient Ones)" (Future Man) – 2:06
"The Drift" (Fleck, V. Wooten, Future Man) – 3:30
"A Celtic Medley: Meridian/Traveling Light/Salamander's Reel" (Fleck) – 6:39
"Peace, Be Still" (V. Wooten) – 4:05
"The Longing" (Fleck) – 5:25
"For Now" (Fleck) – 2:40

 

[Dennie]

Rocket Science -- CD

Bela Fleck & The Flecktones

2011 e-one Records

Amazon.com

Bela Fleck is the only musician to be nominated for Grammys® in jazz, bluegrass, pop, country, spoken word, christian, composition and world music categories. His total count is 11 Grammys® won, and 27 total nominations. Groundbreaking banjoist/composer/bandleader Béla Fleck has reconvened the original Béla Fleck & The Flecktones, the extraordinary initial line-up of his incredible combo. Rocket Science marks the first recording by the first fab four Flecktones in almost two decades, with pianist/harmonica player Howard Levy back in the fold alongside Fleck, bassist Victor Wooten, and percussionist/ drumitarist Roy Futureman Wooten.

Far from being a wistful trip back in time, the album sees the Grammy® Award-winning quartet creating some of the most forward thinking music of their long, storied career. While all manner of genres come into play from classical and jazz to bluegrass and African music to electric blues and Eastern European folk dances the result is an impossible to pigeonhole sound all their own, a meeting of musical minds that remains, as ever, utterly indescribable. Simply put, it is The Flecktones, the music made only when these four individuals come together.

I didn t want to just get together to play the old music, Fleck says. That's not what the Flecktones are about. Everybody s full of life and ideas and creativity. I was intrigued by what we could do that we had never done before. Visionary and vibrant as anything in their already rich canon, Rocket Science feels more like a new beginning than simply the culmination of an early chapter. The band now embarks on an extensive tour, and there s no telling how this new music will further develop in performance. We're going to have to have this experience together and see how everybody likes it, Fleck says. I know that we haven't even come close to exhausting the possibilities with this record, but we sure went deeper than we ever had before.

"Gravity Lane" (Béla Fleck) - 5:58
"Prickly Pear" (Fleck) - 3:49
"Joyful Spring" (Howard Levy) - 2:39
"Life In Eleven" (Levy, Fleck) - 5:25
"Falling Forward" (Fleck) - 5:08
"Storm Warning" (Fleck) - 7:57
"Like Water" (Victor Lemonte Wooten, Fleck) - 4:42
"Earthling Parade" (Fleck) - 7:58
"The Secret Drawer" (Future Man) - 2:12
"Sweet Pomegranates" (Levy) - 5:55
"Falani" (Fleck) - 6:50
"Bottle Rocket" (Fleck) - 5:53

 

[Dennie]

Dub Side of The Moon -- CD

Easy Star All-Stars

2003 Easy Star Records

An incredible reinvention of the original May 14, 2005
By David Bock
Format:Audio CD|Amazon Verified Purchase
Dark side of the moon, remade, Reggae style. And it works. Second for second the same, but different, and it even claims to be 'Wizard of Oz Compatible'.

Unfortunately, the best song from this remake is not on the samples provided by Amazon - the 'Speak to Me' transitions into 'Breathe', with its familiar but Reggae feel, the experience is absolutely surreal - worth buying the album for that experience alone - especially if you are a real fan of Pink Floyd.

As a whole, the reggae feel fits on top of the themes from Dark Side of the Moon naturally - you can easily forget what the 'original' sounds like, because you begin to think it should have sounded like this the first time around. The album has its moments though where the singer just becomes... annoying, and it goes a little over the top. Normally with an album like Dark Side, I would just get lost in the audio experience, almost meditative. While this happens with this version, the annoying singer 'pulls me out' of that a couple of times. There are just a couple of those moments though, and the do not spoil the entire experience. Prevents it from getting a '5' though.

Track Listing
1. Speak to Me/Breathe (In the Air)
2. On the Run
3. Time
4. The Great Gig in the Sky
5. Money
6. Us and Them
7. Any Colour You Like
8. Brain Damage
9. Eclipse

BONUS TRACKS:
10. Time Version
11. Great Dub in the Sky
12. Step It Pon the Rastaman Scene
13. Any Dub You Like

Easy Star All Stars: Corey Harris, Frankie Paul, Gary "Nesta" Pine, Dr. Israel, Ranking Joe (vocals); Michael Goldwasser (guitar); Victor Axelrod (melodica, piano, electric piano, Clavinet, synthesizer, percussion); Victor Rice (electric bass, upright bass); Patrick Dougher (drums).Additional personnel: Jenny Hill (saxophone); Michael Wagner (trombone); Wayne Wiggum (electric bass); Eddie Ocampo, Larry McDonald (percussion); Tamar-Kali (background vocals).Recorded at Noise NY, Mount Vernon, New York; Mike Stand Killer Studios, Funky Slip Studios and Zion Studios Brooklyn, New York; 401 Studios and Hot Sound, New York, New York. Includes liner notes by Lem Oppenheimer.

 

[Dennie]

Off The Top -- Remastered CD

Jimmy Smith

1992/2000 Elektra Jazz Masters (Import Germany)

The meaning of this album's title is two-fold. As Smith explains in the liner notes, the title refers both to the improvisatory nature of the music and to the fact that the outstanding instrumentalists were hand-picked "off the top of the pile." With a stellar line-up that includes George Benson on guitar, Ron Carter on bass, Grady Tate on drums and Stanley Turrentine on sax, the musicianship is top-notch, beautifully augmenting and supporting Smith's skillful keyboard manipulations.While covers of Lionel Richie's "Endless Love" and the theme from M*A*S*H may be a bit too Muzak-y for die-hard Smith fans, the free-flowing soul of the title track and "I'll Drink To That," and the gentle tropical sway of Benson's "Mimosa" deliver in the old style. The record closes with an uptempo treatment of "Ain't Misbehavin'" and a short speech by Smith telling us how much the players enjoyed making the album and how jazz is the only music that's going to last. Given the eminently enjoyable artistry displayed here, that may well be the case.

1. Off the Top
2. Endless Love
3. Mimosa
4. I'll Drink to That
5. Suicide Is Painless [Theme from M*A*S*H]
6. Ain't Misbehavin'
7. Jimmy Smith Rap
8. Keep On Comin' (live)*
9. Be Yourself (live)*
10. No Problem (Live)*
11. Callitwhatchawanna (Live) *

*Live Bonus Tracks From the Album "Keep On Comin'" featuring Kenny Burrell, Johnny Griffin & Mike Baker.

Personnel: Jimmy Smith (organ, ARP synthesizer); Stanley Turrentine (tenor saxophone); George Benson (guitar); Ron Carter (bass); Grady Tate (drums); Errol "Crusher" Bennett (percussion).Recorded at Generation Sound Studios, New York, New York on June 7, 1982. Includes liner notes by Jimmy Smith.
__________________

 

[Dennie]

Echoes of A Note -- Remastered 20-Bit K2 XRCD

Tiger Okoshi - A Tribute to Louis "Pops" Armstrong

1993 JVC Records

Spellbinding August 2, 2009
By Karl W. Nehring
Format:Audio CD

Some readers might be familiar with New Orleans trumpeter Leroy Jones, whose Props for Pops is a delightful tribute to legendary New Orleans trumpeter Louis Armstrong. You may have already guessed that Okoshi is not a Crescent City native, but Tiger considers himself one of "Pop's boys," and Echoes of a Note is a tribute to Satchmo, featuring many of the same Armstrong-related tunes featured on Jones's CD, but done in a much different style.
On this CD, Okoshi is supported by Stern on guitar, Goldstein on piano and accordion, plus Bela Fleck on banjo, Jay Anderson on bass, and Peter Erskine on drums. This all-star ensemble pays tribute to Armstrong by recasting his music in bop form. Satchmo's notes are there, but as echoes, not as re-creations.
The overall effect is spellbinding, and the music is aided by the sonic quality, which is again razor-sharp without ever sounding the least bit bright or hard. The net result is a CD that can be played over and over and over again, each time yielding new delights--just like Leroy Jones's CDs, but yet so different, too. What a wonderful world, indeed!

1. Hello, Dolly!
2. Basin Street Blues
3. (When We Are Dancing) I Get Ideas
4. St. James Infirmary
5. Rockin' Chair
6. St. Louis Blues
7. When It's Sleepy Time Down South
8. On the Sunny Side of the Street
9. When the Saints Go Marching In
10. What a Wonderful World

Personnel: Tiger Okoshi (trumpet); Gil Goldstein (piano, Fender Rhodes, accordion); Mike Stern (electric guitar); Bela Fleck (banjo); Jay Anderson (acoustic bass); Peter Erskine (drums, percussion).Recorded at The Power Station, New York on March 14-16, 1993.Digitally remastered by JVC using XRCD (extended resolution compact disc).

 

[Dennie]

Black, Brown and Beige -- Remastered CD

Duke Ellington and his Orchestra Featuring Mahalia Jackson

1958/1999 Columbia/Legacy

Amazon.com

As a composer and bandleader associated indelibly with the nightclub scenes of pre-Swing Era jazz, Duke Ellington would have a difficult time getting respect in the button-down world of concert music. And when Ellington premiered his first long-form piece, Black, Brown and Beige, in 1943 (available on the stunning Carnegie Hall Concerts, January 1943), he was considered a dilettante. He laid the work aside until this recording, which came in early 1958--with the added oomph of gospel vocalist Mahalia Jackson on board for all the suite's vocal parts. On this expanded reissue, Columbia has added an alternate take of the entire piece as well as two unrelated tracks recorded during the Black, Brown sessions but never before released. The suite is an expansive look, from Ellington's vantage, of course, at the evolution of African American history and culture. So there are ripples of spirited tone poetry, soaring gospel vocals from Jackson (with spare, aching piano from Ellington in spots), thundering horn-fronted swing from the band, and a consistency and unity on par with any symphonic work of the modern era. Ellington was always sensitive about this piece. After all, it showed a lot of what he held in high esteem: history, musical meditations on culture, and a full, colorful use of a band that Ellington held together for an amazingly long time. If only for Mahalia Jackson's takes on "Come Sunday," by now an acknowledged standard, this set is awesome. --Andrew Bartlett

All tracks by Duke Ellington

"Part I" – 8:17
"Part II" – 6:14
"Part III" (aka Light) – 6:26
"Part IV" (aka Come Sunday) – 7:58
"Part V" (aka Come Sunday) – 3:46
"Part VI" (23rd Psalm) – 3:01 Bonus tracks on re-releases
"Track 360" (aka Trains) (alternative take) - 2:02
"Blues in Orbit" (aka Tender) (alternative take) - 2:36
"Part I" (alternative take) – 6:49
"Part II" (alternative take) – 6:38
"Part III" (alternative take) – 3:08
"Part IV" (alternative take) – 2:23
"Part V" (alternative take) – 5:51
"Part VI" (alternative take) – 1:59
"Studio conversation" (Mahalia Swears) – 0:07
"Come Sunday" (a cappella) – 5:47
"(Pause track)" – 0:06

-------

Duke Ellington — piano
William "Cat" Anderson — trumpet
Harold Shorty Baker — trumpet
Clark Terry — trumpet
Ray Nance — trumpet, violin
John Sanders — valve trombone
Quentin Jackson — trombone
Britt Woodman — trombone
Paul Gonsalves — tenor saxophone
Bill Graham — alto saxophone
Harry Carney — baritone saxophone
Jimmy Woode — bass
Sam Woodyard — drums
Mahalia Jackson — vocals

 

[Dennie]

Believe -- DVD-Audio

Aaron Neville

2002 Silverline/EMI Gospel

BELIEVE was nominated for the 2004 Grammy Award for Best Traditional Soul Gospel Album.Aaron Neville's is an angel's voice contained within the body of a dockworker (which he once was), and it turns out to be perfect for gospel. BELIEVE is the New Orleans native's second full-length release of religious material. Teaming with noted Muscle Shoals session cat Barry Beckett, Neville delivers an interesting slate of material that finds him rejoicing in his faith without becoming preachy. Original material is sprinkled throughout, including the smooth, acoustic-guitar-driven "Let Go," and "Jesus, Jesus, Jesus" with its robust brass arrangements. Otherwise, Neville is priming the pump for other people's material. Among the notable songs included are a casual reading of Pete Seeger's "If I Had a Hammer," a vibrant remake of the Edwin Hawkins Singers 1969 gospel-pop crossover smash "Oh Happy Day," and a punchy cover of Hank Williams's "I Saw The Light" featuring The Dirty Dozen Brass Band. Other highlights include a reading of Dylan's "Gotta Serve Somebody," (whose original version also featured Beckett.), a goosebump-inducing "Ava Maria," and a picture-perfect "A Change Is Gonna Come.

Track Listings
1. Steer Me Right
2. Jesus, Jesus, Jesus
3. I Believe
4. If I Had A Hammer
5. Gotta Serve Somebody
6. Oh Happy Day
7. Ave Maria
8. Let Go
9. What A Friend We Have In Jesus
10. A Change Is Gonna Come
11. I Saw The Light (featuring The Dirty Dozen Brass Band)
12. Going Home
13. Amazing Grace
14. With God On Our Side (Bonus Track)

Personnel: Aaron Neville (vocals); Wardell Quezengue (conductor); Blue Miller (acoustic guitar); Dean Parks, Shane Theriot (electric guitar); Judith Armistead, Burton Callahan (violin); Lauren Lemmier, Richard Woehrle (viola); Jonathan Gerhardt (cello); Jim Horn (alto saxophone, baritone saxophone); Sam Levine (tenor saxophone); Steve patrick (trumpet, flugelhorn); Chris Dunn (trombone); The Dirty Dozen Brass Band (horns); John Jarvis (piano, keyboards); Jim Cox (Wurlitzer piano, Hammond B-3 organ); Michael Rhodes (bass); Eddie Bayers (drums); Mark Beckett (percussion); Alvin Chea, Jim Gilstrap, Phil Perry, Darryl Phinnessee, Maxi Anderson, Alex Brown, Jacquelyn Gouche, Sandtown Childrens Choir (background vocals).

 

[Deleted member 133]

To answer the thread's question: the Canadian National Anthem - after our hockey gold win!

 

[Dennie]

To answer the thread's question: the Canadian National Anthem - after our hockey gold win!

I just saw it, Congratulations! :text-bravo:





Dennie

 

[Dennie]

Porgy And Bess - Remastered CD

Miles Davis - Orchestra under the direction of Gil Evans

1959/1997 Columbia Legacy

Of all Gil Evans' orchestral scores for soulmate Miles Davis, PORGY AND BESS is his richest and most ambitious--a watershed of modern jazz harmony which served to secure Davis' pop star stature and define his brooding mystique. Inevitably, even non-jazz listeners own a copy of PORGY AND BESS or SKETCHES OF SPAIN.Like MILES AHEAD, Evans' band on PORGY AND BESS de-emphasized the traditional reed section in favor of a tuba, three French horns, two flutes and two saxophones. The resulting chords and overtones are dark, alluring and mysterious. Thus the opening brass-cymbal bluster of "The Buzzard Song" gives way to a mid-eastern carpet of flutes and deep brass as Davis' poignant trumpet speaks in split tones and yearning cadences, bursting with blues feeling; a tuba soon picks up the theme as muted trumpets are followed by tolling trombone/French horn chords.Each of the thirteen sections contrast lush instrumental details with intimate trumpet arias (which suggest the profound influence of Billie Holiday, particularly over the eerie textures of "I Loves You Porgy"). Evans' ability to orchestrate hypnotic call and response patterns with Davis, and his ability to layer multiple textures at contrasting tempos makes for several memorable moments: Philly Joe's dancing breaks and exchanges with Miles on "Gone," the church-like amens of "Gone, Gone, Gone," the counter-melodies on a lightly swinging "Summertime," Miles' sustained lyricism (and Evans' tart blue chordal rejoinders) on "Prayer," the brash after-hours swagger of "It Ain't Necessarily So," and the contrasting folkish themes of "Here Come De Honey Man." Timeless music.

Track Listing
1. Buzzard Song
2. Bess, You Is My Woman Now
3. Gone
4. Gone, Gone, Gone
5. Summertime
6. Bess, Oh Where's My Bess
7. Prayer (Oh Doctor Jesus)
8. Fishermen, Strawberry and Devil Crab
9. My Man's Gone Now
10. It Ain't Necessarily So
11. Here Come de Honey Man
12. I Loves You, Porgy
13. There's a Boat That's Leaving Soon For New York
14. I Loves You, Porgy - (take 1, second version)
15. Gone - (take 4)

 

[Dennie]

Warm Your Heart -- 20-Bit K2 XRCD

Aaron Neville

1991/2000 Universal/JVC Japan

Compatible with all CD players. Originally released in 1991 and produced by Linda Ronstadt and George Massengill, Aaron Neville's Warm Your Heart is a collection of lush, rich songs that includes both originals and classic reinterpretations. Neville's voice is in absolute top form on the singles "Everybody Plays the Fool," "Somewhere, Somebody" and "Close Your Eyes." Rita Coolidge and Linda Rondstadt both appear as guest vocalists on a number of tracks while other contributing artists include slide guitarist Ry Cooder, saxophonist Plas Johnson, Bob Seger, Dr. John, Bob Glaub and Dean Parks.

This recording has been mastered by the K2 HD format of 24-bit 100kHz, which creates an unbelievable sound!


1. Louisiana 1927
2. Everybody Plays the Fool
3. It Feels Like Rain
4. Somewhere Somebody
5. Don't Go Please Stay
6. With You In Mind
7. That's the Way She Loves
8. Angola Bound
9. Close Your Eyes
10. La Vie Dansante
11. Warm Your Heart
12. I Bid You Goodnight
13. Ave Maria
14. House On a Hill

 

[Dennie]

Groovy -- Remastered CD

The Red Garland Trio

1957/2008 Prestige/Concord Records

Red Garland's third recording as a leader has him playing very well, somewhat energetic and more inclusive in his direction to span the mainstream jazz palate beyond the cool exterior he emanates. The title might be a bit deceptive, for this is not a project where soul-jazz or early boogaloo influences turned jazzmen into groovemeisters -- it's a swinging groove. With bassist Paul Chambers and drummer Art Taylor, Garland has all the support he needs to wing it in a variety of directions. Recorded in that most legendary year of jazz, 1957, Garland is coming into his own in a more confident way, buoyed by his association at the time with Miles Davis. Chambers is flawless in his support role, and on this recording deserves a close listen, especially for students of the acoustic upright. They immediately dig in on the opener "C Jam Blues," with Garland at his heartiest during his bridge solo, they agree in the affirmative during the entirety of the hard bop take of "Will You Still Be Mine?," and repeat but modify the melody … la "Cool Blues" in an adept display of artistry for "Hey Now." Of course Garland has to play a ballad or two, as on "Willow Weep for Me," luscious with chord sequences, and really reflects the influence of Erroll Garner in that chiming, two-handed sustenato style for Garner's "Gone Again." It is said that by the third recording, most musicians should have their style down pat and begin attempting to take the music to a higher level. You really hear that in this recording, which was a springboard to making Red Garland one of the most revered and respected jazz pianists of the modern era. ~ Michael G. Nastos

Track Listing
1. C-Jam Blues
2. Gone Again
3. Will You Still Be Mine?
4. Willow Weep for Me
5. What Can I Say (After I Say I'm Sorry?)
6. Hey Now

Red Garland Trio: Red Garland (piano); Paul Chambers (bass); Arthur Taylor (drums).Recorded at the Van Gelder Studio, Hackensack, New Jersey on December 14, 1956 and May 24 & August 9, 1957. Originally released on Prestige (7133). Includes liner notes by Ira Gitler.Digitally remastered using 20-bit technology by Shigeo Miyamoto (JVC Studios).

 

[Dennie]

A Garland of Red -- CD

The Red Garland Trio

1956/1991 Prestige/OJC Records

Thirty-three at the time of this, his first recording as a leader, pianist Red Garland already had his distinctive style fully formed and had been with the Miles Davis Quintet for a year. With the assistance of bassist Paul Chambers also in Davis's group and drummer Art Taylor, Garland is in superior form on six standards, Charlie Parker's "Constellation" during which he shows that he could sound relaxed at the fastest tempos and his own "Blue Red." Red Garland recorded frequently during the 1956-62 period and virtually all of his trio recordings are consistently enjoyable, this one being no exception. - Scott Yanow


"A Foggy Day" (George Gershwin, Ira Gershwin) - 4:51
"My Romance" (Lorenz Hart, Richard Rodgers) - 6:51
"What Is This Thing Called Love?" (Cole Porter) - 4:53
"Makin' Whoopee" (Walter Donaldson, Gus Kahn) - 4:15
"September in the Rain" (Al Dubin, Harry Warren) - 4:48
"Little Girl Blue" (Hart, Rodgers) - 5:07
"Constellation" (Charlie Parker) - 3:31
"Blue Red" (Red Garland) - 7:40

Personnel:
Red Garland - piano
Paul Chambers - bass
Art Taylor - drums

 

[Dennie]

The King James Version -- CD

Harry James & His Big Band

1976 Sheffield Labs

A Crowning Achievement, April 14, 2009
By Edward Abbott "American Audiophile"
This review is from: the king james version LP (Vinyl)

In late July 1976, trumpeter Harry James recorded enough music for two LPs. This particular set gives one a good sampling of his 1976 orchestra and finds James happy to emulate the swing sound of Count Basie. The arrangements, by Ernie Wilkins, Thad Jones, Ray Conniff, Dave Matthews, Rob Turk and Jimmy Haskell, are top drawer (other than the fact that James decided to record "Lara's Theme" from Dr. Zhivago), and the sidemen, are some of the best. James was playing well enough this late in his career, to once again reaffirm his legend in jazz and that says volumes about this LP. Very Highly recommeded.

Track Listing:

1 Corner Pocket
2 Lara's Theme (From Dr. Zhivago)
3 Cherokee
4 More Splutie, Please
5 Traces
6 Don't Be That Way
7 Sweet Georgia Brown
8 Shiny Stockings
9 Blues Stay Away from Me

Credits of The King James Version

Doug Sax Producer, Liner Notes, Remastering Norman Smith Saxophone
Tommy Todd Piano
Dave Stone Bass
Chuck Anderson Trombone
Chuck Peterson Trombone
Mel Kunkle Saxophone
Tom Padveen Trombone
William Hicks Trumpet
Fred Hall Liner Notes
Pat Longo Saxophone
Les DeMerle Drums
Houston Peterson Trombone (Bass)
Gino Bozzacco Trumpet
Nick Buono Trumpet
Quinn Davis Saxophone Ernie Wilkins
Bob Lawson Saxophone
Lincoln Mayorga Producer
Harry James Trumpet, Performer, Main Performer

 

[Dennie]

Classic Moods -- 20bit K2 CD

Ernie Watts

1998 JVC Records

Classic Moods refers to a number of things -- classic songs, the classic small hard-bop group, the classic sound of jazz ballads. It's clear that Ernie Watts was out to recapture the spirit of his hero John Coltrane's exquisite Ballads, and what's surprising is how close he comes to fulfilling his goal. Working with pianist Mulgrew Miller, bassist George Mraz and drummer Jimmy Cobb, Watts recaptures the classic sound of '50s small combos without ever sounding like a stodgy revivalist. That's because he's too concerned with feeling and fresh, vital improvisations to devote himself to painstaking re-creations of the past. Every musician in the group plays with passion, even during subtle interludes, and that is what brings such standards as "In a Sentimental Mood," "Green Dolphin Street" and "'Round Midnight" to life. You may have heard these songs countless times, but they're worth hearing again in this setting. ~ Stephen Thomas Erlewine

Track Listing
1. In a Sentimental Mood
2. Oh Green Dolphin Street
3. In Never Entered My Mind
4. 'Round Midnight
5. Blues Now and Then
6. Never Let Me Go
7. Lush Life
8. I Don't Know Why
9. The Poet
10. Good Morning Heartache

Personnel: Ernie Watts (saxophone); Mulgrew Miller (piano); George Mraz (acoustic bass); Jimmy Cobb (drums).Digitally remastered by JVC using XRCD (extended resolution compact disc).

 

[Dennie]

Angel Eyes: Ballads & Slow Jams -- CD

Jimmy Smith

1996 Verve Records

The '90s lounge revival and the hubbub surrounding acid jazz would seem ideal reasons for veteran jazz organist Jimmy Smith to pull rank and power up his Hammond B-3 for the sort of greasy grooves and ur-funk riffs that remain the blueprint. Instead, Smith pulls a smarter move: subtitled "Ballads & Slow Jams," the set finds him teaming with younger labelmates Roy Hargrove, Nicholas Payton, Mark Whitfield, and Christian McBride and downshifting into a program of ballads culled from jazz and classic- pop perennials. From Oliver Nelson's "Stolen Moments" and Neal Hefti's "Lil' Darlin'" to slices of Mancini, Gershwin, and Matt Dennis's title song (forever associated with Sinatra), a slow jam by any other name translates to make-out music--in this case, of the most elegant, highly satisfying order. --Sam Sutherland

Track Listing
1. Stolen Moments
2. You Better Go Now
3. Angel Eyes
4. Oh Where's My Bess Bess
5. Slow Freight
6. Tenderly
7. Days of Wine and Roses
8. L'il Darlin'
9. What a Wonderful World

Personnel: Jimmy Smith (organ); Nicholas Payton (trumpet); Roy Hargrove (trumpet, flugelhorn); Mark Whitfield (guitar); Christian McBride (bass); Gregory Hutchinson (drums).Recorded at Powerstation, New York, New York on January 25 & 26, 1995.

 

[Dennie]

Famous Blue Raincoat -- 20th Anniversary 24k Gold Edition CD
The Songs of Leonard Cohen

Jennifer Warnes

2010 Impx Records

Downright classic coveralbum, superb soundquality even bettered, February 10, 2011
By pierke666 (Flanders, Belgium) - See all my reviews
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This review is from: Famous Blue Raincoat (24 Karat Gold CD) (Audio CD)

This is one of my all time fave 's : as so many "HiFi-freaks" I first heard this one on a show years ago. By now it has been demo 'ed to death, but people still bring this album along to compare equipment ! True, there 's nothing "natural" 'bout the sound : every single detail you hear has been very carefully added in the mix. No "one-take live" sensation here, with "warts 'n all" portrayal : instead a seemingly endlessly detailed and heavily polished sound. (This 24 Kt gold version especially : As good as zero backgroundhiss, very wide freq.range and wonderful lowlevel micro-dynamics.) Production is thus very "US-style" : rather smooth/sweet and errs on the side of bombastic. This brings me finally to the music (To me still the most important thing, but not to every "High-Ender" out there, it seems) which is nothing short of fantastic! Some coverversions here even trump the original (L.Cohen-)versions, nearly making them seem bleek. No bald statement of me alone : even Mr. Cohen himself who collaborated in the making of this album admitted this in an interview! I can only think of a handful of coverversions doing this, and none of them are by the same artist, let alone on one album... And even if the emotional approach is sometimes "opera-like" larger-than-life JW gets away with it, being the incredible singer she is.
Somehow a shame to state this -JW being a singer/songwriter- but if you 're thinking of buying just one of her albums, let this be the one (especially this edition containing extra tracks): you won't be dissapointed !

All songs written by Leonard Cohen except where noted.

"First We Take Manhattan" – 3:47
"Bird on a Wire" – 4:42
"Famous Blue Raincoat" – 5:33
"Joan of Arc" – 7:57
"Ain't No Cure for Love" – 3:21
"Coming Back to You" – 3:43
"Song of Bernadette" – 3:55 (Jennifer Warnes, Bill Elliott, Cohen)
"A Singer Must Die" – 4:52
"Came So Far for Beauty" – 3:37 (Cohen, John Lissauer)

Additional tracks on 20th anniversary reissue

"Night Comes On"
"Ballad of the Runaway Horse"
"If It Be Your Will"
"Joan of Arc" (Live in Antwerp, Belgium, 1992)

 

[Dennie]

Meddle -- 24k Gold OMR CD

Pink Floyd

1971 MFSL Ultradisc II

MEDDLE was the first album to hint at the musical identity that would define Pink Floyd in the mid- to late-'70s. Whereas prior releases like UMMAGUMMA and ATOM HEART MOTHER announced the presence of new singer/guitarist/songwriter David Gilmour, MEDDLE represents the band's Gilmour-influenced evolution toward a sleek, epic, spacey sound. In "Echoes," an ambitious 23-minute soundscape, the pinging of a synthesizer greets the listener before Gilmour's warm, open guitar and gentle crooning gives way to a repetitious, workmanlike rhythm. From here, the music fades into an abyss of whale calls and eerie sonic reverberations.Elsewhere, Floyd dabbles with straightforward cocktail-hour jazz ("San Tropez") and a twisted slow blues ("Seamus"). But it is "One of These Days," MEDDLE's opening track and lone radio staple, that truly previews things to come. Roger Waters's bass, played through a Binson echo unit, establishes the song's manically hypnotic groove, as Richard Wright's synthesizer bursts in and out, Nick Mason's off-kilter drum fills get tossed around, and Gilmour's guitar dive-bombs through it all. These varied sound effects, packaged in a song that clocked in at less than six minutes, were a precedent for the masterpiece that was two years away: DARK SIDE OF THE MOON.

Side one
No. Title Music Lead vocals Length
1. "One of These Days" Waters, Wright, Mason, Gilmour Instrumental[nb 4] 5:57
2. "A Pillow of Winds" Waters, Gilmour Gilmour 5:10
3. "Fearless" (including "You'll Never Walk Alone") Waters, Gilmour (including Rodgers, Hammerstein II) Gilmour 6:08
4. "San Tropez" Waters Waters 3:43
5. "Seamus" Waters, Wright, Mason, Gilmour Gilmour 2:16
Side two
No. Title Music Lead vocals Length
1. "Echoes" Waters, Wright, Mason, Gilmour Gilmour and Wright 23:29

 

[Dennie]

The Alamo Concert -- CD

Various Artists

2001 Alamo Classics CD 101
Orchestras/Ensemble: San Antonio Symphony
Composer: Tiomkin, Copland, Revueltas, R.X. Rodriguez
Works: Alamo, Salon Mexico, Noche de los Mayas, Piñata
Conductor: Christopher Wilkins
Label: Alamo Classics Catalog: #CD 001
Audio CD (September 1997)