"…The disc’s exceptional, state-of-the-art recording draws you in right close, with Allan’s very special and intimate delivery cocooned by the immaculately judged and empathic contributions of a handful of other musicians (guitar, dobro, accordion, banjo, bowed psaltery, fretless bass). I feel sure that Leaving At Dawn will come to be judged as one of Allan’s finest ever collections." ~folk roots
Just prior to signing with RCA/Novus, John Pizzarelli recorded two sets for Chesky that featured him playing in the swing style that he would soon make quite popular. Although joined by all-stars (pianist Dave McKenna, bassist Milt Hinton, drummer Connie Kay, his father, guitarist Bucky Pizzarelli, and flugelhornist Clark Terry) rather than his regular trio, Pizzarelli's likable vocals and relaxed guitar solos are not overshadowed. In fact, this is a delightful date, with memorable renditions of such songs as "I'm An Errand Boy for Rhythm," "Lady Be Good," "The Best Man," "Gee Baby Ain't I Good to You" and "Candy." Easily recommended to John Pizzarelli fans.
Vibraphonist Cal Tjader is in typically fine form on this live set from 1968. His quintet at the time featured Armand Perazza on congas and pianist Joe Kloess and his repertoire ranged from Afro-Cuban jazz to occasional straightahead tunes. Six of the eight selections on this date are originals by band members or Gary McFarland. Although Tjader had been playing this style of music for 15 years by this time, he still was quite creative and enthusiastic, and is heard throughout in excellent form.
Whether in its original serial form in the 1940s, in the low-budget films of the 1950s, in the television series of the 1960s, or even in the overgrown re-imaginings for blockbuster movies in the 1970s and beyond, the science-fiction genre on film (and videotape) has always had something cheesy about it, and that is part of its appeal. Even when the technical wizards at director George Lucas' Industrial Light and Magic are dreaming up the next Star Wars movie, there is, at heart, a sense of the earliest, silliest versions of the genre still present. In that spirit come Neil Norman's souped-up and synthesized treatments of the various scores for sci-fi films and TV…
When he recorded this album, his lone date as a leader, trumpeter Tommy Turrentine (who was a member of Max Roach's group along with his brother, the soon-to-be famous tenor Stanley Turrentine) seemed to have a potentially great future. Unfortunately, ill health would eventually force his retirement. Turrentine's set for Time (which has been reissued on CD by Bainbridge) actually features the musicians of Roach's quintet (including brother Stanley, trombonist Julian Priester, bassist Bob Boswell, and Roach himself) plus pianist Horace Parlan. The trumpeter contributed five of the seven songs (which are joined by Horace Parlan's "Blues for J.P." and Bud Powell's "Webb City") on this fine straight-ahead hard bop set. All of the musicians play up to par and the results are swinging and fit securely into the modern mainstream of the time.
This was Jimmy's best selling album ever but the title is very misleading in that these are all studio recordings, not live recordings, which means they weren't recorded at Carnegie Hall, but the tracks are in the order he performed them at a Carnegie Hall concert one week prior to recording the first dozen in the studio of this double album. This is actually the first time all of the original master tapes of this album were used as the songs recorded in mono were on all previous issues in rechanneled stereo while the true stereo tracks…
Donovan first emerged as part of the ruling class of 1960s singer-songwriters. More than just "England's answer to Bob Dylan," Donovan's music evolved from its folk roots into something truly unique and has endured the test of time. It encompasses a full blend of social commentary, introspective trippiness and, yes… cosmic sounds. This collection showcases the talents of the artist and his art. Combining Donovan’s Pye/Hickory recordings and his Epic label releases, this musical collection is a journey into the world of a musical poet….the world of a storyteller….the world of Donovan.
This lesser-known Sonny Clark session (his only studio album not made for Blue Note) is sometimes issued under drummer Max Roach's name, too. They are joined by bassist George Duvivier for a set of generally obscure Clark originals including "Minor Meeting," "Blues Mambo," and "My Conception" (which is taken as an unaccompanied piano solo). Although not obvious while listening to his recording, Clark's life was in decline and this would be his penultimate date as a leader.
The Zombies are a British pop group, first active in the 1960s. Following The Beatles in 1964 as part of "The British Invasion" of the USA, they were the second UK group to score an American #1 hit. The Zombies were uniquely different, with a subtler style, often jazzier and more inventive chord structures, the prominent keyboards of Rod Argent, and the distinctive voice of Colin Blunstone. She's Not There and Tell Her No were quick hits, but despite continually stunning musical output that has influenced other artists ever since, another hit record was more than four years away, after they'd broken up! This collection, remastered for SACD, covers the Zombies' short and tasteful career, spanning their 1964-1967 years for Decca Records, and their single album, the classic Odessey & Oracle, for Epic Records in 1968…
This collection of works for unaccompanied voices is bookended by works by singer Cathy Berberian and composer Luciano Berio, who were once married to each other. John Cage's Story is a movement of his percussion quartet Living Room Music, while Young Turtle Asymmetries is by Cage's pupil Jackson Mac Low and Roger Marsh's Not a Soul But Ourselves is set to a text by James Joyce. Usually done solo, Berberian's Stripsody, with its score consisting solely of cartoons, is sung here by a trio and must be heard to be believed.