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The almost apologetic liner notes let you know that the music on this album, and indeed Mr. Hawkins himself, was essentially out of favor, except as an exercise in nostalgia and that Prestige’s “Moodsville” series, if not meant as background “mood music,” could serve that purpose, though it was perfectly suited for actual listening should the buyer so desire. Montovani is even mentioned in the notes!

The shadow story of the tragic life of the sad-eyed, impossibly pretty Gram Parsons is fairly well known, at least among fans of The Byrds, The Flying Burrito Brothers and Parsons’ ill-fated solo career.

Parsons (original name: Ingram Cecil Connor III) was an enigma: a Southern born trust fund baby, Harvard drop-out and emotionally troubled musician who, though plagued by alcohol and drug abuse, (or perhaps in part because of it), produced some of the most haunting and enduring music of his era, while forging a new musical paradigm combining folk, country, rock, soul and “glam.” Though he influenced generations of musicians who followed, he never sold that many records.

Jazz vocalist Karrin Allyson’s tenth Concord release and her most recent to be issued on double 180g vinyl by Pure Audiophile, is yet another pleasing, eclectic and elegant set from the young, refreshingly unaffected vocalist.

Despite once having endorsed Bose, Herbie Hancock is clearly a good listener. For his first Blue Note solo outing back in 1962 when he was just 22, he led with “Watermelon Man,” an irresistible “crossover” tune that could attract a crowd beyond Blue Note’s usual buyers. While Hancock says it’s based on a childhood recollection of street vendors, the song’s groove was very much in tune with “the street” circa 1962. Hancock’s playing is funky but not flamboyant.