Repressing of this UK collection. MC Squared-featuring folk renegades from the Back Porch Majority, as well as legendary studio musicians Jim Keltner and Randy Sterling-recorded four exciting singles for Reprise Records during 1967 and 1968. Sounding like a unique hybrid of the Mamas and the Papas and Jefferson Airplane, the Los Angeles-based quintet failed to generate commercial success, and as a result their long-lost 1968 album has since been confined to the vaults…
Of all the early rock & rollers, Fats Domino was the easiest to take for granted, since he made it all seem so easy. Even when it rocked hard, his music was so relaxed, so friendly that it sounded effortless and natural, which was part of the reason that his classic recordings for Imperial in the '50s were so consistently enjoyable. All the hits, many of their flips sides, and most of his album cuts were flat-out fun – maybe not as revolutionary as work by Little Richard, Buddy Holly, Chuck Berry, and the Everly Brothers, but his body of work for Imperial not only stands proudly next to theirs, but is just as influential. This much is clear after years of hindsight, but in the late '60s he was as passé as any of his peers, even if there were legions of new rockers, from the Beatles to Randy Newman, who were raised on his music.
For the first time in over three decades, the Frank Sinatra/Antonio Carlos Jobim recordings are now together in The Complete Reprise Recordings, the most comprehensive compilation of the Sinatra/Jobim sessions yet. The re-mastered classics of the two late musical legends include "Dindi," "How Insensitive," "Quiet Nights of Quiet Stars," and of course, "The Girl from Ipanema," a Jobim masterpiece covered by numerous colleagues such as pianist Vince Guaraldi. In addition to those, there are three new bonus tracks on this reprise that allow for a new compositional spark that perfectly compliment the jazz standards that Jobim arranges in his distinct Brazilian bossa nova style. The Complete Reprise Recordings are a must-have for any collector, and a new lifestyle for dedicated Sinatra/Jobim fans…
The material on CD 1 dates from the latter half of Artie Shaw’s career as a bandleader, which ended with his retirement in 1954. Always presenting tasteful and often unusually deep interpretations of big-band jazz and dance music, and featuring his exquisite and frequently profound clarinet improvisations, Shaw’s career climaxed in his rise to superstar status as the most popular musician in North America at the height of the Swing Era in 1939.
Conversing with Artie Shaw – as Loren Schoenberg and I did in preparation for annotating these further treasures from his last recordings – is an exhilarating experience. This is because this master of the clarinet excels at making connections. Just as he always knew how to get from one note the next in such a way that the result was a cohesive statement – a story, as jazz musicians used to put it – he knows how to link one idea to another, to make allusions, to place things in context, within a frame of reference that ranges wide and far. Artie Shaw always told a story when he played, and he had that sound – immediately, unmistakably identifiable as his and his alone. It is a treat to hear him tell us some timeless stories we hadn’t heard before. Dan Morgenstern.
These marvellous performances are culled from Artie Shaw’s final recordings as an instrumentalist. It is crystal clear that he retired at the height of his powers. Throughout these pieces, his playing is a joy to the ear and the mind, and his unique sound on the clarinet has seldom if ever been better captured. Shaw was still in his prime as a leader as well: this last Gramercy Five was a collective of the first order with a sound and style of its own, attuned to the times but never falling into the trap of trendiness.
Twelve years after they released their first Merle Haggard box, The Untamed Hawk, Bear Family delivered the sequel, Hag: The Studio Recordings 1969-1976. This picks up where The Untamed Hawk left off, which is more of a musical dividing point than it initially seems. If The Untamed Hawk caught Haggard as he was reaching full flight, Hag captures him in his prime, as every single he released reached the Country Top Ten – often capturing the number one slot – and as he sometimes crossed over into the pop Top 40. Hag was without a doubt the biggest star in country music but the remarkable thing about his reign at the top was that he never played it safe.