Higher Truth is the fourth and final studio album by Soundgarden vocalist Chris Cornell. The album was released on September 18, 2015. Upon its release, Higher Truth received generally favourable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 68 based on 11 reviews, which indicates "generally favorable reviews". Stephen Thomas Erlewine of AllMusic said, "While Higher Truth never seems as self-consciously confessional as Euphoria Mourning, this mellow simplicity is an attribute: a relaxed Cornell creates a comforting mood piece that's enveloping in its warmth."Collin Brennan of Consequence of Sound stated, "Higher Truth ironically doesn't strive for anything higher. It stakes its claim in the rich soils of the middle ground, a place that values intimacy above innovation, quiet truths above the ones that scream. And it's all the better for it."
Cornell 5/8/77 was recorded live directly from the soundboards by Betty Cantor-Jackson. After several years the master tapes were seemingly lost for good, but that all changed at the end of 2016. The lost tapes, or lost “Betty boards” as they are commonly known, finally made their way back home to the Grateful Dead vault, making it possible to officially bring the world this legendary show just in time for its 40th Anniversary. The complete live show has been Plangentized by Plangent Processes and remastered by GRAMMY ® award winning sound engineer, Jeffrey Norman.
Between 1976 and 1979, Jimmy McGriff was often featured in the disco-style productions of Groove Merchant house arranger Brad Baker. The records usually surrounded the great organist with a huge army of studio musicians, big horn sections, string parts and often heard McGriff playing keyboards other than organ. THE MEAN MACHINE, from 1976, was the first of these productions and McGriff doesn't even play organ here.
Over at Rudy Van Gelder's studio in Jersey during the '90s, it was just like 1969 with soul-jazz sessions bursting forth at a more leisurely yet no less insistent clip. This could only mean that Hank Crawford and co-billed leader Jimmy McGriff were at it again, playing off the Bernard Purdie shuffle on the first two tracks, and cruising through ballads, blues, and cover tunes with the assurance of those who had the genre in their bloodstream. A high point is Marvin Gaye's "What's Going On," as Crawford has the soul and restraint to make a fresh case for a slightly over-recorded contemporary tune.
This recently-discovered release is certainly the jazz find of the year so far in 2007. In much the way that John Coltrane/Thelonious Monk Live at Carnegie Hall and, to some extent, the live Coltrane document One Up, One Down, Cornell 1964 brings a major piece of jazz history into focus in the best way possible–with an actual recording that documents it.
This 1977 production was highly enthusiastically received. Speight Jenkins, the noted critic and opera impresario, wrote of Cornell MacNeil's Rigoletto in the New York Post that "few have ever sung a more moving denunciation of the courtiers or a better Vengeance Duet with Gilda. His was a great Verdian interpretation… Dramatically (Domingo) and Miss Cotrubas did not make a false move, and the same camn be said for Justino Diaz' ominous, well-sung Sparafucile, Isola Jones, the Maddalena…while John Cheek made a stirring Monterone. conducted with the command of Verdi that has so often been his trademark. His adherence to the composer's markings, his rhythm and his opneing of the traditional small cuts in the opera all made for a superb musical performance.