Features 24 bit remastering and comes with a mini-description. Alto sax player, arranger, and composer Buster Smith recorded sparingly during his career and this seven-track set, recorded in a single session on June 7, 1959 and released by Atlantic Records a month or two later, was the only album Smith did as a bandleader. It's a low key, pleasant affair featuring five original Smith compositions, including the lightly swinging "Buster's Tune" and the odd, wonderfully disjointed "King Alcohol," as well as versions of Kurt Weill's "September Song" and Will Hudson's "Organ Grinder's Swing."
Good Deal is a typically fine record from the Three Sounds, who were beginning to hit their stride when this session was recorded in May of 1959. Like most of their records, it's laidback – even when the group works a swinging tempo, there's a sense of ease that keeps the mood friendly, relaxed and mellow. Balancing standards like "Satin Doll," "Soft Winds" and "That's All" with bop ("Robbin's Nest"), calypso ("St. Thomas") and originals, the Three Sounds cover a lot of stylistic territory, putting their distinctive stamp on each song. It's very accessible, pleasant soul-jazz and mainstream hard bop, but Gene Harris' masterful technique means that Good Deal rewards close listening as well.
Elle King brings the debut album. Comes with lyrics and a description. Special Feature - Bonus Track: Japan only bonus tracks. Existing at the intersection of the two major retro-roots movements of the new millennium – the beehived, swinging '60s soul of Amy Winehouse and the bluesy roar of the White Stripes – Elle King's debut, Love Stuff, feels like a record that should've happened prior to 2015. Surprisingly, King is the only musician to mine this territory but she's not quite stuck in the past, whether that means the 20th century source or the canny revivals of Winehouse and Jack White.
Freddie Green seldom led sessions and seldom played lead. Instead, he formed part of the classic rhythm section that gave the Count Basie band its steady pulse. This rare date finds Green with tenor Al Cohn, trumpeter Joe Newman, trombonist Henry Coker, pianist Nat Pierce, bassist Milt Hinton, and either Jo Jones or Osie Johnson on drums. Mr. Rhythm, in fact, will remind many of a good Basie set. The steady drums, bass, and guitar on "Back and Forth" and "Something's Gotta Give" push the music forward, swinging ever so lightly. Nat Pierce's minimalist piano work also owes something to Basie.
Summarily dismissed from Ozzy Osbourne's band (via telegram no less), guitarist Jake E. Lee licked his wounds and formed Badlands with another former Black Sabbath singer, Ray Gillen. Despite the employment history of its principals, the group eschewed gothic themes and textures on their self-titled debut, embracing instead the bluesy swagger of Led Zeppelin and Montrose. Within the first few seconds of album opener "Live Wire" it becomes clear that Lee and Gillen made a wise stylistic choice, as the guitarist's swinging riff and vocalist's gravelly howl are electrifyingly compatible.
Features 24 bit remastering and comes with a mini-description. A standout set from Shorty – tightly arranged numbers performed by a quartet that includes Jimmy Giuffre, Pete Jolly, Curtis Counce, and Shelly Manne – all working with Shorty in perfect west coast form! Despite the length of the tunes, the overall feel is similar to Rogers' excellent Wherever The Five Winds Blow album for RCA – and makes the record a great set, done without any gimmicks or tricks – and enough of the modern touch still left from Rogers' first few years on record. Titles include "Martians Go Home", "Trickleydidlier", "Not Really The Blues", and "Michele's Meditation".
This release has long been considered Thelonious Monk's acknowledgement to the flourishing youth-oriented subculture from whence the collection takes its name. Certainly the Grammy-winning cover art – which depicts Monk as a World War II French revolutionary toting an automatic weapon – gave the establishment more than the brilliant swinging sounds in the grooves to consider. Underground became Monk's penultimate studio album, as well as the final release to feature the '60s quartet: Charlie Rouse (tenor sax), Ben Riley (drums), and Larry Gales (bass) behind Monk (piano).
Crystal Ball wasn't as successful as Equinox, but it was a better album, showcasing Styx's increased skill for crafting simple, catchy pop hooks out of their bombastic sound…