In many photographs of disco,Jimmy Johnson's recording career begins with the Delmark LPs Johnson's Whacks (1979) and North/South (1982)…..
Jimmy Rogers was very much a musician's musician – the kind of guitarist that earned accolades from contemporaries and successors alike – yet one who never wins a wide, mainstream audience. Blues Blues Blues was designed as the album that would find Rogers a larger audience, and as such, it has all the bells and whistles of a big-deal blues album. It has the classics ("Trouble No More," "Bright Lights, Big City," "Sweet Home Chicago," "Don't Start Me to Talkin'"), remakes of Rogers standards ("Ludella," "That's All Right"), cult covers (Muddy Waters' "Blow Wind Blow," which kicks off the album on just the right note) and an astounding number of guest appearances, including cameos from (get ready): Jimmy Page and Robert Plant, Keith Richards and Mick Jagger, Lowell Fulson, Johnnie Johnson, Eric Clapton, Taj Mahal, Ted Harvey, Carey Bell, Stephen Stills, and Jeff Healey.
Following the major sales and airplay successes of Benoit's previous GRP outings, Shadows is a more conceptual album, a collection that perfectly fuses the hip-hop grooves introduced on Inner Motion's popular track "M.W.A," with a lush orchestral approach. All without losing sight of the spirited composing and playing style that made him one of smooth jazz's biggest stars. Helping bring Benoit and co-producer Marcel East's chemistry to life are friends old and new to the Benoit studio fold: guitarist Pat Kelley; bassists Neil Stubenhaus, Nathan East, and Jimmy Johnson; saxophonist Michael Paulo; drummers Jeff Porcaro and John Robinson; and percussionists Chris Trujillo, Michael Fisher, and Fattburger's Tommy Aros.
Don Henley doesn't move fast because he can afford not to hurry. He can spend the better part of a decade waiting out a record contract, labor on a 90-minute Eagles reunion for maybe half a decade, then take another eight years before returning with Cass County, his first solo album in 15 years and only fifth overall. That's the mark of a man who takes his time, but all that chronology pales compared to the true journey Cass County represents: a return to Henley's country roots, whether they lie in the blissed-out, mellow sunshine of Southern California or the Texas home that provides this record with its name…
Reissue with the latest 2015 remastering. Comes with liner notes. Nicely sharp sounds from the great JJ Johnson – a set that has the trombonist really honing his edge on a host of tight, short tracks – with a vibe that almost recalls his initial bop recordings on Blue Note and Prestige! The style here is a bit more sophisticated – definitely with an ear towards the modern directions that JJ was exploring in the 50s – but the sound is also nicely spontaneous, with more focus on improvisation between group members than larger arrangements – quite nice, given that the group features excellent tenor from Bobby Jaspar on tenor – and either Tommy Flanagan or Hank Jones on piano, Percy Heath or Wilbur Little on bass, and Elvin Jones on drums. Tracks are short, and titles include "Overdrive", "Cube Steak", "Chasin The Bird", and "Solar".
Reissue with the latest 2015 remastering. Comes with liner notes. One of the hippest, hardest albums that trombonist JJ Johnson ever cut for Columbia – a session we'd rank right up there with his amazing JJ Inc record, and like that one a really cooking hardbop record that maybe even rivals the best on Blue Note and Prestige at the time! As with that gem, the strength here is really the group – not just tremendous trombone from JJ, but great work from Nat Adderley on trumpet, Bobby Jaspar on tenor and flute, Cedar Walton on piano, Spanky DeBrest on bass, and Albert Heath on drums – all working with a soaring, soulful energy that's a lot more hardbop heavy than you might expect from JJ Johnson on some of his other projects for the label.