LATEST ADDITIONS

Michael Fremer  |  Nov 01, 2007  |  0 comments

The arranger Gil Evans was on a roll when this cool, yet raucous big band set of standards was recorded in New York City back in 1958. The California native and big band veteran had already arranged Miles Davis’ Miles Ahead and the cool and deep Porgy and Bess. Featured soloist Cannonball Adderley’s Blue Note classic Somethin’ Else had also hit big by then (okay, it was really a Miles Davis album, but Cannonball’s playing heated up Miles’s cool show).

Michael  |  Nov 01, 2007  |  1 comments

I can’t get enough of these Candid reissues from Pure Pleasure. The original label was short-lived and the distribution limited. Candid was originally a subsidiary of Archie Bleyer’s Cadence Records (Bleyer had an unlikely ‘50’s hit single with “Hernando’s Hideaway” from the Broadway hit “Damn Yankees” and scored big with The Everly Brothers). The label was sold to pop crooner Andy Williams, a seemingly unlikely customer, who reissued some of both Cadence and Candid titles on his label Barnaby, distributed by Columbia Records.

Michael Fremer  |  Nov 01, 2007  |  0 comments

Natalie Merchant’s first solo outing after leaving 10,000 Maniacs, issued in 1995, was among her finest records. For those who may have found her earlier work overblown and precious, the understated, acoustic setting, provided by a trio of then relative unknowns, proved ideal for a set of introspective set pieces dealing with issues of loss, jealousy, escape, sacrifice, loneliness, stardom and martyrdom delivered with cozy intimacy. No wonder it became a big seller.

Michael Fremer  |  Nov 01, 2007  |  0 comments

Buying stereo records issued by obscure labels during the 1960s was always a challenge. First of all, you had tofind them. Most of the local stores in my area only carried mono for “the kids,” so that meant a trip to The Green Acres Shopping Center in Valley Stream, Long Island to hit Sam Goody’s where there was a small but useful “stereo” section where you could find rock.

Michael Fremer  |  Nov 01, 2007  |  0 comments

Funky, bluesy electric guitarist Mel Brown, now 78, is still at it. He was 27 back in 1967 when Impulse released this showcase for his super-clarified style of electric funk/jazz blues guitar.

Michael Fremer  |  Oct 07, 2007  |  First Published: Dec 31, 1969  |  1 comments
Simaudio's Moon LP5.3 MM/MC phono preamplifier ($1400) is silly good! It has single-ended RCA inputs and both single-ended and true balanced-differential outputs. It also offers a wide range of adjustments for gain (54, 60, and 66dB), resistive loading (10, 100, 470, 1k, and 47k ohms), and capacitive loading (0, 100, and 470pF), all accomplished via a series of internally mounted jumper banks. You can even choose RIAA or IEC equalization. Removing the top plate to get to the adjustments reveals boards filled with high-quality parts for the well-isolated power-supply and signal-handling circuits.
Michael Fremer  |  Oct 01, 2007  |  0 comments

Let’s get right to the point of this reissue, which is the sound, since anyone shelling out big bucks for it is doing so because he or she is familiar with the music and loves it to death.

Michael Fremer  |  Oct 01, 2007  |  0 comments

Composed in 1937, Shostakovich’s dramatic 5th symphony is cinematic in scope and thematically rich and varied. Though 20th century modern in its angular musical approach, it retains elements of Tchaikovsky’s romantic 19th century, though many of the musical gestures more closely resemble those of Shostakovich's contemporary, Sergei Prokofiev. In fact if you’re familiar with Prokofiev’s “Lt. Kije Suite” you will hear some similarities along with some touches of Rimsky-Korsakov.

Michael Fremer  |  Oct 01, 2007  |  0 comments

For those of you who know the pleasures of guitarist John Fahey’s Takoma recordings (Fahey was a rabid audiophile, BTW), or Robbie Basho’s, or even Sandy Bull’s extraordinary experiments in guitar-based world music fusion on Vanguard, James Blackshaw may already be on your radar screen, as may some of the other contemporary guitar experimenters who fly equally low beneath the mainstream musical radar screen, but until this LP, I’d not encountered the 24 year old Blackshaw who’s been recording and performing since 2003.

Michael Fremer  |  Oct 01, 2007  |  0 comments

This Capitol release features an extraordinarily pure, tactile orchestral recording and a solo violin recording of equal sonic stature.

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