Knowing Bernie Grundman, there’s something amusing about thinking of him cutting the lacquers for this ORG reissue of Nirvana’s “cull” album of demos, outtakes and radio broadcasts.
No one has ever claimed PJ Harvey creates music made for easy, or even pleasant listening. Much of it is dark and painful, but even at its weakest, Harvey's music is provocative and worthwhile.
Poor misunderstood Steven Demetre Georgiou/Cat Stevens/Yusef Islam. Like Bob Marley or Barack Obama, he’s a “hybrid” and subject to misinterpretation and fear-mongering.
This impeccably produced (by Norman Granz, who literall built Verve Records and later Pablo around her), career summing concert takes Ella from her beginnings with the Chick Webb Orchestra to her then current quartet featuring Tommy Flanagan, Keeter Betts, Joe Pass and Freddie Waits, all brilliantly choreographed by master showman/producer/record executive Norman Granz along with Newport producer George Wein.
Tenor saxophonist Wayne Shorter's Blue Note debut features the stellar rhythm section of McCoy Tyner, Elvin Jones and Reggie Workman plus Lee Morgan on trumpet. Not a bad way to start a new label debut!
I don't what Rudy Van Gelder was thinking or doing when he recorded the opening tune "Zoltan," by Woody Shaw who's on trumpet here. Rudy's got Elvin Jones' drum kit mixed way up front in the right channel and he's positively nailed Jones' muscular cymbal sound. And he's got Young's Hammond B-3 appearing three-dimensionally well-focused and forward of a line between the speakers. That's unusual for Rudy. He gets great presence from Shaw's trumpet in the left channel and Joe Henderson's tenor in the right.