Album Reviews

A more pleasant pairing of musical icons you’re not likely to hear and the backing by The Oscar Peterson Trio (Ray Brown on bass, Herb Ellis on guitar plus Buddy Rich on drums) completes the setting. Add a superb monophonic recording and a literally astonishing 45rpm re-mastering that just about brings them all back to life in your listening room and you have something truly special that’s clearly stood the test of (a long!) time.

Another decade, another reissue of DSOTM, this one using the very fragile original two track master tape, again supervised by James Guthrie. Guthrie had determined that the tape was in fragile shape back in 2003, which is why he opted for a remix in the analog domain. That edition was very good and worth having, especially if you didn't have a very clean early UK pressing, but in retrospect it departs from the original much as the Mo-Fi does: the EQ is a bit much at the frequency extremes, which bleaches out the mids. As for the mix's micro-elements and how close Guthrie came to reproducing the original mix, I have to surrender that to the DTOTM fanatics, of which I'm not one.

You'll never confuse Shostakovich's Piano Concerto No. 2 composed in 1957 with piano concertos composed during the romantic era, except when you get to the squooshy center where the composer goes all Rachmaninoff on you. The cinematic first movement sounds both ominous and light-hearted like a Hitchcock chase scene and it's easy to hear how Bernard Herrmann may have been influenced by this rousing first movement. It will get your heart pounding. 

Does an album that didn’t make a Billboard chart blip when first issued in 1987 deserve to be reissued on double 45rpm 180g gram vinyl?

Back in 1963, Frank Sinatra, the brawling "rat packer," lounge-lizard wise-cracker took a short retirement to record this album of classic Broadway show tunes, with the emphasis on Rodgers and Hammerstein, lushly orchestrated by Nelson Riddle.

(Laura Nyro was nominated to the Rock and Roll Hall of Fame December, 2011)

Why Pat Metheny remains “controversial” and even reviled by some jazz enthusiasts remains a mystery to me, though of course he also has an enormous international fan base. He’s criticized for not having sufficient “grit” or for being too “happy” for want of a better word. I don’t get it.