Album Reviews

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Malachi Lui  |  Jun 30, 2021  |  6 comments
As jazz vinyl sees a great resurgence, new labels issuing archival material and recent recordings contribute to a now-overwhelming catalog of available records. Run by former ECM producer Sun Chung, Red Hook Records bills itself as “a place for encounters, where musicians have opportunities [to] carve new adventurous ways of creative wayfaring [and] dissolve musical boundaries.” Red Hook’s release focus and target audience remains unclear; not all jazz buyers are audiophiles, and not all audiophiles accept newer recordings. The label’s inaugural release is Hanamichi,
Michael Fremer  |  Aug 01, 2008  |  0 comments

In the nervous, jumpy, wiry world of guitar-driven late ‘70’s-early ‘80’s post-rock intellectual punk, popularized by bands like Gang of Four, Buzzcocks, early XTC and (more broodingly) Wire, Mission of Burma was America’s premier practitioners. They probably accrued more legend than record sales, though.

Michael Fremer  |  Sep 01, 2010  |  1 comments

The 37 year old bassist Christian McBride apparently assembled the powerhouse quintet "Inside Straight" at the behest of Village Vanguard owner Lorraine Gordon, who told him he was welcome to play the legendary club anytime, but not with the “rock’n’roll” band he was playing with at the time.

Michael Fremer  |  Jan 01, 2006  |  0 comments

Whatever fans might hope for on a McCartney album is here: thoughtful pop tunes, accomplished melodic invention, focused, meticulous production and comforting glints of The Beatles. More importantly, what McCartney detractors (including the Beatles fans among them) might expect is missing: namely sugary confections, shlock-rock, and corny lyrics.

Michael Fremer  |  Jul 01, 2011  |  1 comments

This mostly introspective, Jackie McLean led session featuring trombonist Grachan Moncur III (who contributes three of the four compositions), Roy Haynes, bassist Larry Ridley and Bobby Hutcherson, whose vibraphone add an otherworldly element to the mix, sounds more like something from an eerie “Twilight Zone” episode than what one normally expects or gets from the Blue Note franchise.

Michael Fremer  |  Feb 01, 2012  |  1 comments

"My girlfriend loves everything at the beach except the sand, the surf and the sun."  That lyric pretty much sums up the playful, sensous, and dangerous kitsch-world of this exotic six person  L.A. group fronted by the black widow spider persona of the sexy Cambodian pop chantreuse Chhom Nimol whose fixation with '60s Cambodian pop fuels the music. 

Mark Smotroff  |  Oct 03, 2023  |  17 comments

It looks like the old Who’s Next. It feels like the old Who’s Next. But the new 180g 1LP half-speed-mastered 50th anniversary edition of The Who’s seminal August 1971 masterpiece Who’s Next sounds arguably bigger and better than any commonly available version of the original mix of Who’s Next that we’ve heard to date on vinyl. Read Mark Smotroff’s review to see why this new Abbey Road half-speed-mastered, Plangent Processes-restored 180g 1LP Who’s Next belongs on your turntable, pronto. . .

Michael Fremer  |  Oct 05, 2012  |  22 comments
Arlo Guthrie is a registered Republican (though of the ultra-rare libertarian/progressive strain). That leaves Ry Cooder to carry on his dad's uncompromising protest song tradition and he does so with musical and lyrical conviction on this album aimed at the upcoming election that's no more likely to date than has "This Land is Your Land."
Michael Fremer  |  Oct 01, 2005  |  1 comments

Long considered to be one of the best sounding RCA “Living Stereo” recordings, this Classic Records 45rpm single sided edition takes getting it into your home to new extremes. The flat “other side” means better disc to platter coupling, as does the Quiex SV-P 200 profile, which gives your platter no lip. At 45rpm, the wavelengths get elongated and thus are easier to track-especially at the inner groove area as the spiral gets tighter and tighter.

Michael Fremer  |  Dec 01, 2011  |  1 comments

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.

Michael Fremer  |  Oct 03, 2012  |  7 comments
This is crazy! Why did it take so long for this to be officially issued? Whatever. It's Muddy Waters and his band live in Chicago, 1981 at the tiny Checkerboard Lounge, with Mick, Keith, Ronnie and Stones pianist Ian Stewart in the audience. Oh, and Buddy Guy, Junior Wells and Lefty Dizz.
Michael Fremer  |  May 01, 2010  |  0 comments

Back in the 1940s the legendary concert promoter, record producer and record company head Norman Granz conceived of jazz performances in a classical music style concert setting.

Mark Smotroff  |  Jul 21, 2023  |  8 comments

The cover image is iconic. The opening strains of the recording are iconic. Even the original label design is iconic. Fifty years on, we now celebrate Mike Oldfield’s landmark progressive masterwork debut album, May 1973’s Tubular Bells, with an expanded 180g 2LP half-speed-remastered edition overseen by Oldfield himself. Read on to get Mark Smotroff’s take on this this avowed timeless classic. . .

Michael Fremer  |  Sep 24, 2013  |  49 comments
Over the past few Record Store Days Sony/Legacy has been slowly rolling out on 180g vinyl, much of the Miles Davis catalog mastered from original analog tapes. This coming Record Store Day, November 29th, the label will release on vinyl Miles and Monk at Newport, Jazz Track and Kind of Blue. At that point, all nine mono vinyl titles will have been released. The same nine mono titles will debut on CD in a new box set MILES DAVIS: The Original Mono Recordings to be released on November 11th of this year

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Michael Fremer  |  Sep 09, 2020  |  12 comments
Miles Davis's second collaboration with arranger/orchestrator Gil Evans (and the first recorded in stereo) is arguably the duo's best effort—a majestic, moody re-working of George Gershwin's classic folk opera recorded in three summer of 1958 sessions at Columbia's 30th street studios.

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