Recorded in glorious mono in 1956 and issued first in 1957, this set of small combo standards with Cole both singing and playing the piano remains as fresh and vital as it did when originally released.
In an indie-rock era saturated with smirky, slacker irony, the roots-rocker Ray La Montagne comes across as downright solemn. He and his group execute cleanly and almost reverentially, funk, blues, jazz and country, which La Montagne sings in a honey coated gruff voice that veers between Joe Cocker and Tim Hardin. The man is sincere and like Tim Hardin, he knows how to move three chord rounds.
Trumpeter Kenny Dorham brought Joe Henderson to Blue Note and on the late tenor saxophonist's second lead album gives him strong support as the two chase each other through some zig-zag bop thickets. "Teeter Totter," the fast-paced Henderson-penned opener alone is worth the price of admission but the other tracks simmer with equal intensity.
You could argue the advisability of naming a sophomore effort Everybody Digs Bill Evans but today it’s clear that everybody in fact does, or still does depending on your feelings about that second album’s title.
What possessed Amanda Palmer to cover Radiohead playing her "magic ukelele"? Who knows? Did this inspire Eddie Vedder to issue a ukelele-based record? What would Arthur Godfrey think of all of this (look him up if you're too young to know who he is)?
Henry Saint Clair Fredericks A/K/A Taj Mahal grew up in Harlem, spent time as a teenager on a Massachusetts dairy farm, attended U of M, gigged around and finally headed west and built a musical career first in Los Angeles and later in the Bay area. The life influences come through in his music: a mix of urban and country blues mixed with world music.
Jenny Lewis and Johnathan Rice were a couple when they made this REM indebted pop/rock album a few years ago. For all I know they are still a couple. I sure hope so because they make exquisite folk/rock music together, with both sharing guitar and bass playing.
This is a vinyl reissue of lo-fi home recording genius and underground hero Ariel Pink. These sometimes tuneful lo-fi experiments from a decade ago are interesting and probably very influential but there's no real reason to have them on double 180 gram vinyl given the lo-tech origins of the material.
This massive, two-box beauty from Denmark costs $60,000, and I wish I could tell you it wasn't really better in most ways than the already outlandishly priced and sonically superb Boulder 2008. I can't.
How fast was Miles Davis moving in 1970? Listen to the title track on the double LP recorded late summer 1969 and released the next April and then play the version on the bonus live at Tanglewood CD recorded August 1970.