Even atheists will swoon for Mahalia's unlikely Sunday morning thanksgiving at the 1958 Newport Jazz festival. Accompanied by piano, organ and bass Ms. Jackson begins with the solemn song "An Evening Prayer" and then moves to a more celebratory "I'm On My Way." Then it's back to the mournful "A City Called Heaven."
The CTI record label started by producer Creed Taylor in 1968 didn’t immediately get the respect it deserved from jazz snobs who found its musical output as glitzy as its glossy cover art. It was the "smooth” jazz label of its day. By the musical terms of the next decade CTI’s original musical vibe was almost “free jazz” compared to the next decade's elevator music slop labeled as “smooth jazz.” It was smooth alright, but jazz?
As a talent scout, bluesman John Mayall has no equal. Everyone knows he 'discovered' Eric Clapton and that the Blues Breakers album (Decca SKL 4804) became a best seller and a classic, but the list of Mayall discoveries and/or early accomplices is astonishing: John McVie (Fleetwood Mac), Peter Green (Fleetwood Mac), Mick Taylor (Rolling Stones), David O' List (The Nice), Andy Fraser (Free) and more recently (though still 25+ years ago!) Coco Montoya and Walter Trout.
Dick Dale is widely acknowledged as the inventor of “surf music.” Most observers consider his first single “Let’s Go Trippin’” recorded July 21st 1961to be the first surf record. Certainly those of us old enough to remember hearing it on the radio back then had never heard anything like it before, though that could be said about virtually everything that showed up on pop music radio back then.
The British progressive rock group Gentle Giant never achieved exalted status among the genre's aficionados, though they were well respected and their following was loyal and vociferous. When I was on "free form" FM radio in the mid 1970s I'd get calls from fans requesting Gentle Giant, but when I played through the albums, I heard nothing that I thought would grab listeners. Listening today to this and to Free Hand (ALLUGV03)—the two albums falling midway in their recording career— makes clear why that was so, and why they are deserving of a second listen almost forty years later.
Even if this record evaporated in a cloud of smoke after one play like the "Mission Impossible" tape it would be worth buying just to hear young Clifford Brown's suave take on the ballad "Easy Living", reproduced with such graceful authority on this double 45—especially if your previous reference was either the CD or the 1974 UA/ Blue Note compilation Brownie Eyes (BN-LA267G), which was all I've previously had.
How many Diana Krall albums does one need? That's a personal decision of course. However, if you have more than three but no Shirley Horn albums in your collection, you have a few too many. Ditto Sarah Vaughan, Ella, etc. That's not meant as a slight against Krall. In fact I think she'd probably agree with me.
The problem with an album like this is that there are two basically disinterested constituencies: Nino Rota fans who want to hear the actual soundtracks and people who don't know who Nino Rota is, or Fellini for that matter, and don't really care who they are or what The Umbrellas have done to interpret Rota's music.
It's an unacceptable prejudice and this review has nothing to do with me, but I admit to having had a problem with Lionel Hampton because he was a Nixon supporter. Isn't that ridiculous? I mean having a problem with it, not that Hamp supported tricky Dick. His politics are his of course, but this prejudice took hold during the 1970s.