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Drugstore - Songs for the jet set
Globe GLOBCD6 Reviewed by JH
While I find this album truly excellent to listen to, if I was a long-time Drugstore fan I would be a tad worried. Don't get me wrong, this album has a wonderful vocal largely delivered by Isabel Monteiro, a Brazilian for what its worth, and enough melody to keep a dozen terminally bad drummers humming along in time. No what would worry me about this album is that it seems to be an ending. The album has a completeness that implies that nothing else will follow it, would the last one out turn out the lights and bolt the door, that sort of thing reinforced by the fact that many of the songs have ending as a theme. It would be a shame if this feeling was the truth. Drugstore's general style is hard to quantify and as with many mature bands they have evolved a niche of their own. Somewhat surprisingly the band are noticeable by their lack of chart success, brought home to me when researching this album, I was surprised to discover it was their third and that they have been together for eight years. Not an album to watch girls by but definitely one to have a drink with. This album is excellent and I would recommend it to anyone. Get the habit.

Martin Stephenson- Lilac Tree
Floating World FW 003 Reviewed by RP
Martin Stephenson is an artist completely at peace with himself, and one who continues to produce albums that possess exceptional degrees of individuality and insight. "Organic" may be a much over used adjective, but it aptly describes this harmonious relationship struck between a gifted poet, the songs he writes and those performances given to a small band of devoted fans who've followed him since the early days on Wearside. Content to remain one of the best kept secrets around, he plays the folk clubs, cafes and bars, sometimes reviving the old songs - to the applause of these small appreciative audiences. On other occasions he'll mix up his own more recent works with those from like-minded musicians. Here, it's 'Folk Singer' (Tom Ovens), 'Rainbow' (Gary McCourt) and 'All Men Condemned' (Washington Phillips) which complement a dozen Stephenson originals. An unpretentious production, nicely engineered at the Redwood studio near Aviemore by Peter Rawson, develops these uncomplicated arrangements for guitars, Hammond organ, piano, handmade drums, simple percussion and a didgeridoo (on an unlisted, 'Working In My Garden'. It suits a subtly observed track, 'Bluebottle Theory' and those touching ballads like 'Rowan Berries', which express an affinity with rural Scotland. The Lilac Tree is a quiet place to rest awhile and contemplate life.

Thea Gilmore - as if
Flying Sparks TDBEP 0054 Reviewed by RG
Naim have always loudly denied that they're an audiophile label, and if proof were needed then it arrived in the form of last years Lipstick Conspiracies. Hard of edge, dense and muddy of sound it was, none the less, a fantastic record, revealing the latent talent of a teenage Thea Gilmore. She and Naim have since parted company, and this new EP is a taster for a forthcoming album on Flying Sparks. On this basis I can't wait. Gone is the opaque congestion of Lipstick, and these six tracks vary between straight ahead four piece (featuring Pretender Robbie McIntosh on Guitar -and ironically recorded at Room With A View where Naim recorded the wonderful Foo Foo) and simple girl and guitar. The clean, clear takes bring a new space and confidence to her singing, allowing the vocal to stand front and centre, which given the strength of the lyrics is exactly where it should be. Only the mannered, spoken 'Don't set foot over the railway tracks', littered with forced rhymes and poor scans, hints at Gilmore's youth. The rest is excellent, soaring to a pinnacle with the solo acoustic cover of 'Straight Up: Get this now, 'cos this girl is going to be huge.
Artistes website: www.theagilmore.com

Thea Gilmore - And another thing ....
Reviewed by RP
Roadworks songwriter's tour. Wednesday May 9th 2001. Manchester's Life Cafe. Tom Mcrae headlining. Thea, maturing with each live gig, outshines two other support acts and the top of the bill Mcrae. A composed and beautiful acoustic session supported (as ever) by guitar ally Nigel Stonier, working an audience through her songs, old and new. She's come a long way in some six months since I last heard her live. So where's the album we've all been waiting for? September's looking good. For now, though, there's a numbered, limited edition, six track EP to satisfy those hunger pangs. As Ifs opening number, 'This Girl is Taking Bets', once again demonstrates compositional and textural versatility with a bouncy rockabilly beat. Plenty of feminist fire and prickly humour, coupled to that thematic trademark sense of hesitancy and uncertainty found in love songs like 'Straight Up'. Politics? Yes, we'll have that too, served with a generous helping of scepticism and bold lyrics: "Every door has leprosy .... Jesus has a nose-ring and Mary has tattoos" ('Don't Set Foot Over The Railway Track') mocks politicians of all persuasions, while the live recording of 'You Tell Me' should get you off your settee to see and hear Thea Gilmore in the flesh. This EPs the best £6.00 I've spent in ages!
Artistes website: www.theagilmore.com

Anam - Tine Gheal/ Bright Fire
Linn CKD 121 Reviewed by DD
Mixing traditional Gaelic songs with self-penned numbers there's a freshness about this album that's very appealing. You never get the sense of over-earnest folkies at work and the band are clearly having a great time. The session encompasses a wide range of instruments which include bouzouki and accordion in addition to the expected fiddle, bohdran and guitar. The band play some great instrumentals: reels, jigs and hornpipes, but the real joy of the album is in the singing of Fiona Mackenzie. She's blessed with one of those voices that grabs your attention immediately and draws you into the feel of the song. 'S' Gann Gun Dirich Mi Chaoidh (It Is Unlikely I Will Ever Climb)' is a fine example. Her tones convey the emotion of the song about a hunter expressing his sorrow at being forced to quit his living in such a clear way that you barely need to glance at the translation to get a sense of the songs meaning. Fine singing too, from Brian óhEadhra in the traditional song 'North Americay'. The recording is very good: clean, clear and entirely natural and 'in the room' doing full justice to the music. An unpretentious treat.

Elbow - Asleep in the back
WR7015882 V2 2001 Reviewed by MC
As the rift between the chart and the live scene widens, the pressure is building up. How long can so many bands of such quality flourish underground before the major labels loose their grip? Elbow are just one more band to add to this growing list. There has been a lot of excitement around Elbow over the last few months, following a handful of electrifying live performances and two breathtaking EP's. And, as with the majority of bands placed in the spotlight before they have even begun to record, the album sounds carefully considered rather than organically grown. After an almost perfect start, 'Any day now and 'Red', the album gets a little bogged down before pulling itself right with a sequence of four heartstoppingly perfect tracks. 'Bitten by the tail fly' adds a little bite to the listing, with grit and guitars providing a bit of pace to an otherwise downbeat album. Asleep in the back is yet another gloriously dark debut album. Following in the footsteps of Doves (whom they supported at one of this years NME awards nights) they have created a work of vast, gloomy introspection, that lurks, occasionally bursting into colour. It's a collection of superb, well crafted songs, played by people who really care, designed to aim straight for the heart, emotion expressed through a long proven medium. I like it, I like it a lot.

Tony Joe White - Lake Placid Blues
Remark Records 527530-2 Reviewed by RP
Basking just below the shoreline, that big ol' swamp rock crocodile Tony Joe White, has no natural enemies whatsoever. Whether you knew it or not, in those clear blue waters of Lake Placid his lyrical (razor sharp) teeth cut him a place at the head of the food chain. After all, this is the man whose creative juices were responsible for 'Rainy Night In Georgia'. When you've fully digested this album it's easy to understand why TJW has a reputation for being an uncompromising musician who never gives less than one hundred and ten percent to each and every recording project he undertakes. Here (as his tempo varies with style) those early country roots, that swamp thing he did in the Seventies and a richly layered "thick as molasses" blues voice come to the fore. These are familiar topics-small towns, dirt roads, tin shacks and down South reminiscences - themes that ease themselves into the title track, 'Bayou Woman' and 'Louisiana Rain'. A nice touch, too, is a semi-autobiographical Take on an ageing journeyman guitarist musing on home truths and life's loves in an intuitive, 'The Guitar Don't Lie: Chewing over these rugged songs with TJW are Leland Sklar (bass) Benmont Tench (keyboard) and Jim 'Blind Bubba' Spake (sax). Their contributions to this Doug Sax mastered production are as colourful as these names would suggest.

Kings of Convenience - Quiet is the new loud
SOURCDO19 Reviewed by MC
Well, as summer appears to be around the corner, I'm sure you're all stocking up on your banging house and phat garage beats. But for those of you whose idea of heaven is sitting in the shade, with a cold Gin and tonic, I'd like to recommend quiet is the new loud. It's fair to say that this album has never been far from my hi-fi since I bought it on its release. And the album, like the songs themselves, came as a very pleasant surprise. The first single, 'Toxic girl', introduced Kings of Convenience as purveyors of the very finest, most delicate music this century. Two young men from Norway, they represent the quietest, frailest of the bands behind the current New-Acoustic-Movement, and easily the best. The album features little more than one acoustic guitar and two voices, save for the occasional cello or trumpet, but still manages to provide enough in the way of variation of rhythm and pace that it never drags. But the real surprise is that the album binds together as a whole much more strongly than the average contemporary recording, to form a complete meaningful statement. Quiet is the new loud is a delight. It grabs you on the first listen, and then just keeps getting better. Perfect for the summer.

Yo La Tengo - I can hear the heart beat as one
OLE222-1 Reviewed by RG
Yo La Tengo (In case you wondered, the website states "Yo La Tengo still means 'More Ketchup, Bubba' in Spanish") are a mature band who have managed to produce a large amount of decently consistent work across a long, in this case thirteen year, period. I can ... is their eighth album, and possibly their best. Firstly there is an obvious comparison to the Velvet Underground. Its justifiable since they also seem to thrive on mixing melody with heavily distorted walls of guitar. Perhaps not surprisingly Yo La Tengo also hail from New York. A three-piece outfit they are a band that marry contradictions. This album was recorded in Nashville, but it isn't country: They play tight like it's a good jazz album, but they are no way performing jazz. The album sounds like it has captured a moment of improvised performance and not been produced in the typical way. They also appreciate that the sound they produce in most tracks needs a little tempering, and every time it all gets a bit much, along comes some welcome relaxation. This review can really only offer an overview, and hint at the manic roller coaster ride of skilful variation that represents the listening experience. Definitely one to try.

The Inflatable Sharks - See You On The Ice
Springboard SMCDIS001 Reviewed by RG
Ever wondered what happened to all the serious pop/rock bands? Hankering after something with a bit more substance than pop candyfloss or REM going through the motions. Reach for the Inflatable Sharks, a joke fin concealing an all too serious shape lurking in the musical morass. Perhaps the likes of Atomic Kitten will be seized by a shapely leg and dragged from view. We can live in hope. The opening chords, the galloping pile driver bass line of track one leave you in no doubt. This is pop with purpose. Sort of like Oasis before they got all pompous and anthemic on us. There's edge, wit and intelligence a plenty - not surprising given that the entire band contribute to the writing. The results are at once pleasingly familiar and sufficiently different to catch and hold attention. Not too challenging but consistently entertaining, stand-out tracks like the opener 'Snow', 'Best Part Of The Day' and 'Falling On Your Feet' hold out promise of great things. The Inflatable Sharks deserve to rise from the depths of university and bed-sit depression to reach a wider audience. Buoyant, up-beat and with just enough bite, these boys will go far.

Edgar Meyer, with Bela Fleck and Mike Marshall - Uncommon Ritual
Sony SK 62891 Reviewed by SG
This CD has been appearing on audiophile lists for a few years now, and the recording does have a very natural sound. It is tonally spot-on, although it occasionally suffers from limited separation. But, it is the music that holds my primary attention, with an amalgam of varying styles; from Bluegrass (the core of the trio's individual experiences) to Classical, fabricated with significant improvisation and experimentation. While it is Meyer's bass that often takes centre stage, the three musicians all assert their own identities, but this never diminishes what brings these great performers together. This is namely the love of playing, while extending the boundaries of the expected musical norm, evolving the music into sounds that are often beguiling, confounding and startling. The music has a natural momentum, and it is rich in melodic charm. There is a core of classical accents throughout, but with surprising rhythmic effects, including the underlying cadence found in Rock 'n' Roll. The highlight has to be Sarasate's Zigeunerweisen performed on the bass, with both refinement and ferocity. This is a captivating CD that challenges the listener to confront the conformist within. With excellent playing and very good sound, it is wholeheartedly recommended.
Supplier: Vivante Tel:0208-977-6600

Linoleum - Dissent
Lino Vinyl LIN0005 Reviewed by MC
The debut album from London four piece Linoleum never really turned any heads on its release in 1997. After the similar fate of their second album Race from the burning building last year, it rather seems that Linoleum will forever be remembered as the band that Paul Jones played in before defecting to Elastics. Jones' distinctive guitar style is wasted alongside Justine and Co. but with Linoleum he shines, as he did in their rare live performances. Many comparisons were drawn between Linoleum and other female fronted indie outfits, but Jones' unique sound, coupled with Caroline Finch's sultry, almost whispered vocals, set them apart. The production is superb, with the songs carefully pared to reflect the fatigue in so much of the subject matter, whilst injecting a sheen of Parisian chic (track down the French version of 'On a Tuesday' that backed the single 'Marquis'). In a year when every other band were happy to be mediocre, Linoleum seemed to want to record in 3D, and Dissent feels huge, like the difference between N and cinema. Every even numbered track bubbles with energy and tension, every odd numbered track staggers with the comedown, and each and every one is excellent.

Dolly Varden - The Thrill Of Gravity
Evil Teen ETR 10007-2 Reviewed by RG
This, the second outing from Chicago country rockers Dolly Varden, preceded the fabulous Dumbest Magnets reviewed in Issue 12. More conventional in its structures, and use of the near telepathic harmonies of husband and wife songwriting team Steve Dawson and Diane Christiansen, this is more of a straight ahead rocker, without the intricate textures and deftness of the later album. Having said that, the evolution is clear, and tracks like 'Lucky 23' would be equally at home on either disc. So Thrill might not scale the inventive heights of Magnets, but does that make it any less of an album? No, it's just different, and in some ways more accessible. Its denser instrumentation is nicely propulsive without ever overpowering the vocals which, once again, hold centre stage. Intelligent lyrics and delivery are once again the order of the day and make Dolly Varden stand well out from the crowd. Songs like 'Dangerously Thin' and 'All I Deserve' are classics in their own right, making this another album to cherish, another album worth seeking out. Make the effort and you'll not regret it.

Songdog - The Way of the World
Zara Records TED CD1 Reviewed by AH
To be original, invigorating and daring is becoming an increasingly rare phenomenon in today's MTV saturated world. Enter Songdog, a totally different listening experience lead by one Lyndon Morgan, occasional playwright, novelist and songwriter, who pushes the art form onto a different plateau. The Way of the World is a quite extraordinary album bursting with Morgan's fabulously detailed Lyrics, which are heavily laden with tales of love, loss and passion (and sex in a cemetery!). The backing is very spare allowing Morgan's lyrics the room to breathe and weave their magic. Take the opening lines on first track 'Goodbye Isabel' for a taster of what's to follow; "In her heart I think she wants me dead/Second best she sleeps with me instead/ I give her all her books and records back/Roy Orbison, Burt Bacharach and Kerouac, in paperback/West Side Story Soundtrack." Some of the songs have a bleakness and desolation to them that cuts right to the core; witness the line in 'South London Winter' where Morgans Howls "Lucy wrote me a letter, pink crayon on blue Paper, to say every useless thing we'd planned was off." The Way of the World is very intense in a Leonard Cohen kind of way, and it stopped me in my tracks and demanded that I give it my full attention. It's a remarkable achievement and a real treasure - seek it out.

Genesis - Foxtrot
Classic Records Reviewed by DA
Foxtrot was the album that made the public start to sit up and take notice of Genesis. They may not have had major commercial success until some years later, but at least now they could pay the rent. Most remembered for the 20 minute epic 'Supper's Ready' taking up most of side two, tracks such as 'Watcher Of The Skies', with its staccato motif, and 'Get 'em Out By Friday', with its cautionary tale of compulsory re-housing, should not be ignored. Swimming against the current, I prefer the preceding album Nursery Cryme, but Foxtrot runs it close. As is typical of the prog rock albums of the time, the LP is keyboard heavy and packed full of unusual time signatures giving Phil Collins the opportunity to show what an excellent drummer he is, despite the flack he gets these days. Sadly, this re-issue is not up to the same standard as Classics Led Zeppelin re-issues. There is some tape hiss evident, which implies that they couldn't get hold of the original master tapes. Additionally side one runs to over 28 minutes, and the LP would have been better pressed over three sides. Having said that, the original pressing pushed the cutting envelope so hard that serious mistracking would occur on side one, or even groove jumping, so in the end the Classic version is still an improvement.
Supplier: Vivante Tel:0208-977-6600

Kristen Hersh - Sunny Border Blue
CAD 2102 Reviewed by JH
Kristen Hersh is an unusual woman with an unusual voice. She is somebody who seems to walk that fine line that separates genius and madness, at least as far as her music goes. I have been a big fan since her days with the Throwing Muses, so each of her solo efforts have been eagerly awaited. Occasionally I have been a tad disappointed but not with this album. Thirteen seemingly crafted songs that are rather more polished and produced than some previous efforts, despite which they lose none of her passion and anger. I say seemingly crafted, as she has always claimed that the songs arrive in her mind fully conceived complete with the method of achieving the finished result. In which case she has a mixing desk for a brain. Hmmm - 64 tracks, that explains quite a lot! These are largely acoustic tracks, simple in form, framing her distinctive voice. Always from the heart these songs contain a bitter taste of bile that is at odds with the gentle delivery, but don't get suckered in. These songs can shock, and often leave a feeling, an emotion, buried in your mind which your subconscious seems to work away at with the result that the next listen generates a new respect for this music. One of pop's great talents (and what a lovely sleeve too).

King Crimson - Discipline
CDVKCX8

King Crimson - Beat
CDVKCX9

King Crimson - Three Of A Perfect Pair
CDVKCX10 Reviewed by DA
The time is 1982, and a group assuming the name of veteran prog rockers King Crimson appears on the music scene. While the world steels itself for another avante-metal assault, the new band releases its first album, Discipline, and this time it's funky. Welcome to the Twilight Zone. In fact, Discipline was only a surprise to those who had overlooked Robert Fripp's interim band The League Of Gentlemen. Here was a group whose roots were not in Royston Vasey but New York, where Fripp had long been ensconced as one of art rock's leading lights. Combining elements of Blondie and Talking Heads, The League Of Gentlemen produced fine snippets of eccentric bouncy pop. Thus it was no surprise to find that the new King Crimson included one time Talking Heads contributor Adrian Belew. Also drafted in was Peter Gabriel sessioneer Tony Levin on bass and Chapman Stick, having worked together with Fripp on Gabriel's first two albums. The final member of the court was Bill Bruford, the highly intelligent drummer (is that an oxymoron?) from the previous Crimson incarnation, and one time skin basher with Yes. As Fripp's Funky Foursome was probably not going to sell too many records, it was time to re-instate, once again, the King Crimson moniker. As part of the ongoing re-issue project to celebrate KC's 30th anniversary, which is now long passed, we now have the three albums recorded by the funky four. Each is presented in an attractive miniature gatefold sleeve, denying the fact that all three LPs were originally released in slip covers. No matter, the presentation feels lavish, and each includes a bonus booklet containing reviews of the original releases, notes from Fripp, and other trivia. Musically the three CDs chart a course from the tight melodic guitar patterns of the aptly named Discipline to the deranged monster that was the construKction of light, Three Of A Perfect Pair marking the halfway point of the journey, and on the original release being prophetically broken into two halves pointing to what had been and what was to come. Listening to this release of Discipline I was struck by the fact that the CD appears to feature a subtly different mix to the original LP, something that was not apparent on the previous set of three re-issues. Certain tracks on the LP were really difficult to reproduce unless your system's timing was spot on; the altered mix seems to give an easier ride to the cyclic guitar patterns set up between Fripp and Belew. The second album, Beat, is themed loosely on the writings of the '50s beat heroes, and in particular Jack Kerouac. Frankly I'm too young, too English, and too philistine to comment further on the theme, but musically the album continues the fusion of funk and maths to good effect. Whilst not hitting the highs of 'Frame By Frame' and 'Indiscipline' from the previous album, tracks such as 'Sartori In Tangier will quickly have you tripping the light fantastic around the living room. Sadly though, the closing improvisation 'Requiem' is a real dog. Three Of A Perfect Pair is the real collector's find, for while the only bonus track on the preceding two CDs is a largely redundant single edit of 'Matte Kudasai', here we get a mini album's worth of extra material and, for owners of the original, a big surprise. Ignoring the extra tracks, the album is split in two, funky and weird. The funky "Left Side" bats along at quite a pace with some great songs and even a stab at the singles market in the form of 'Sleepless', and herein lies the surprise; the version here is completely different to the one on the original vinyl. The original vinyl version is now tucked away with two other re-mixes in the extras section. How odd. The "Right Side" is considerably more challenging (or rubbish according to several friends), sounding at times like a visit to a haunted factory. I love the first track on this side, 'Industry', with its staccato bass line, swirling effects, and interjected percussion. In the end these three CDs represent a set of musical ideals presented by four superb musicians at the peak of their abilities. If you fancy a bit of discipline in your life, then you could do worse than starting here.

Gordon Haskell - Look Out
Flying Sparks Records TDB-CD-053 Reviewed by DA
To be honest, since Gordon Haskell left King Crimson he has been flying under my personal radar, and so I had no idea what to expect when his latest spinner landed on my lap for review. What I can guarantee is that I didn't expect a CD that sounds like a summit between Tom Waits and Captain Beefheart over a bottle of single malt and half a dozen good Havanas. Haskell may be sampling the Highland firewater, but he's not drowning in it. Rather, like the aforementioned malt, he has matured and improved with age. His outlook seems remarkably upbeat for a man who has steadfastly avoided commercial success since the early '70s, and Look Out is a refreshing blend of liquor fuelled rockers and smoky ballads. Eschewing the overproduction favoured by many of his contemporaries, Haskell is backed by a competent band who obviously enjoy playing his material. The production is sparse with a slight rough edge to the sound that surprisingly adds to the performance, given that the band sound like an upmarket pub act. When I first got the CD, I slipped it into the player intending to sample each track before reviewing it properly at a later date. That the remote remained untouched as the complete CD played should speak volumes about how the artist hooked and reeled in this reviewer.

REM - Reveal
Warner Bros 9362-47946-2 Reviewed by MC
The latest Album from REM has been heralded as a return to form, a true classic REM record. But then, most bands when faced with marketing their 16th album will roll this cliché out one more time. If a return to form can be read as turning back on the brilliant and youthful direction their last four albums took, and instead heading off down a path labelled "no-where in particular" then yes, it is a return to form. Whereas New Adventures saw them invest in blistering guitars and screamed vocal pleas, and Up stripped this down to its most basic components to give a more soulful and distressed album, Reveal is REM at their most complete, their most polished, but sadly, without any songs to back it up. The album has only one real tune to speak of, the basis for 'All the way to Reno', and even that is simply 'Near wild heaven' on loop (in fact, 'Near wild heaven' seems to crop up all through the record). The songs bleed into each other without ever really making any sort of impression at all. It's a disappointing follow up to a superb run of albums, and not even Some fantastic Phil Spector style guitar work can lift it from the bin marked "Dirge".

Nadine - Lit Up From The Inside
Glitterhouse GRCD 508 Reviewed by RG
Thoughtful, reflective songs from St. Louis based Nadine, a Missouri four piece with more than a hint of After The Goldrush about them. Perhaps it's the slightly nasal whine to the vocals, perhaps it's the deliberate pacing of the self produced songs, but the shade of Neil Young stands silent guard in the background while the band go through their impressive paces. With no individual credits, even down to who does what with what to who, it's difficult to single out any particular contribution, and maybe that's as well, for it's the coherence and solidity of the playing that really makes this record stand out from the crowd. The easy, open flow of 'Streets' followed by the insistent, probing of 'Hope Like The Rain' form the heart and pivot of the album. These are simple, beautiful songs, beautifully played by a band that knows each other and exactly what it's doing. They bed things in after the varied scale, style and textures of the opening, leading into the more measured songs of side two (or they would if this wasn't a CD). The result is a subtle, gentle delight of a disc that creeps up on you, and before you know it, it's become a staple on your play list. Wonderful.

Django Reinhardt - Djangology Vol 1 1934-5
Naxos Jazz Legends 8.120515 Reviewed by DD
Forget hi-fi (what can you expect from recordings of this vintage) this is simply a phenomenal talent at work, making history with some of the greatest guitar work ever recorded. Blending gypsy rhythms with jazz, Django carved a path of his own and found his most sensitive partner in Stephane Grapelli with whom he formed the Quintette du Hot Club de France. This album includes some of their earliest recordings where even dusty standards like Swanee River are given a bounce and urgency they normally lack. Grapelli sets Reinhardt off perfectly, each urging the other on to faster and faster paced runs -just listen to I Got Rhythm here for proof of their energy. Slower paced numbers, like St. Louis Blues work just as well and the fact that Reinhardt achieved all this sans the use of two fingers never ceases to astonish. These recordings have been re-mastered using CEDAR noise reduction. Background noise, although varying slightly from track to track in line with the quality of the available master material, is minimal. This is among an initial batch of Jazz Legend recordings from Naxos that includes recordings from Ellington, Nat King Cole, and Stan Kenton. At the usual bargain Naxos price you should snap 'em up as soon as you see them!

Cal Tjader - Soul Burst
Verve V/V6 8837 (Speakers Corner) Reviewed by DD
Recorded in '66 this is one of Tjader's better releases. Whilst he was not an outstanding vibes player he was able to play a leading role in the integration of Latin rhythms and jazz . He was largely responsible for introducing both Willie Bobo and Mongo Santamaria to wider audiences. The Latin influence is there from the first notes of the opening number Cuchy Frito Man. What sounds at first like another easy going Latin-fest quickly gets tougher and by the time we reach the percussion-led side one closer Manteca, a favourite tune of Dizzy Gillespie, things are really cooking: well, at least they're simmering nicely. The band is fine, with noticeably good flute playing from Jerry Dodgion throughout, and the 12-piece set-up are remarkably tight. The four-man percussion section plays a major role in keeping this session above the easy listening category. The recording is crisp and clean and the 180g pressing excellent. At just under 36 minutes you barely have time to relax into the album before it's over. Maybe I'm getting too used to CD's.
Supplier: Vivante Tel:0208-977-6600

The Chuck Israels Quartet - The Bellingham Sessions, Vol 2
Audio Ideas ai-cd-013 Reviewed by DD
Chuck Israels originally came to prominence as the bassist with the Bill Evans Trio from '61 to '66 although he's also paid his dues with a number of other greats including John Coltrane, Bud Powell, and Stan Getz. In the eighties he contributed to a couple of favourite albums of mine: The Kronos Quartet's Bill Evans and Thelonius Monk albums. This album pairs Israels with drummer Donald Bailey, guitarist Dan Faehnle, and pianist Miles Black. Evan's music is an undoubted influence on the set, which runs through a series of traditional and original compositions in a genial and laid back manner, which subtly draws you in to the music and soothes the soul. Israels is content to take a back seat here, providing a sensitive backdrop for the other band members. Faehnle in particular shines throughout with particularly fluid playing. The recording is remarkably natural - no single element intrudes - leaving the focus entirely where it should be - on the music making. This is a 'nice' album in the best sense of that over-used word: no barriers are broken, the entirely natural recording won't wow hi-fi nuts, but to those who enjoy music first it makes an entirely enjoyable and relaxing set.

Lalo Schifrin - Insensatez
Verve V6-8785 (Speakers Corner) Reviewed by DD
And now, from the man who brought you Mission Impossible, an album of .., well what is it? The album opens with The Wave, which with its driving piano theme has more than a hint of his big hit. Then it's straight into Jobim territory with Insensatez and on through more Bossa Nova fare including Samba Para Dos and Murmerio. Schifrin's intention with the album was 'to show respect for the real feeling of bossa nova, using either Brazilian themes or other material that was suitable for that kind of treatment.' The Creed Taylor production is good, with what sounds like a vast band, the string section and top notes of Schifrin's piano are a little acid but generally this is a very full-blooded recording. The strings are too heavy for my taste tending to rob the album of the Brazilian feel it strives for. Jobim's albums are, for me, the role model of how strings can be sensitively integrated, adding to rather than sacrificing the atmosphere. Oh, and just what is it? Easy listening of course: Elevator music for very superior elevators.
Supplier: Vivante Tel:0208-977-6600

The Jerome Harris Quintet - Rendezvous
Stereophile STPH-013-2 Reviewed by DD
Recorded in just two days in Acoustic Sounds Blue Heaven studios, this was a labour of love for all involved. The Kansas studios were chosen as a democratically inconvenient venue between the New Mexico based Stereophile crew and the New York based musicians I'm glad they made the choice though, because the set benefits from a convincingly warm, natural sound set in a tangible acoustic space. Harris plays a Taylor acoustic bass guitar throughout - a very different and to my ears much more musical sound than a conventional electric bass, with a full-bodied, rounded tone. The opening number, Decision Point features some fine trombone work from Art Baron, but the standout track for me comes mid-way through the album. The band's take on the Ellington standard The Mooche starts in such a laid-back way that you feel it will grind to a halt. It stays in this relaxed groove throughout, but the band overlay some fine soloing that lift the track right out of the rut. Notably Steve Nelson on vibraphone and especially Art Baron, who makes it clear in this number that he's played with Ellington for real. This is a good, well-played and very well recorded, if musically unexceptional album.
Supplier: Stereophile - www.stereophile.com

Art Blakey! Jazz Messengers! - Art Blakey & the Jazz Messengers
Impulse AS-7 (Speakers Corner) Reviewed by DD
'Missis Blakey's only son Arturo' can do little wrong in my book and this '61 set that introduced Wayne Shorter to the band crackles with energy from the start. The rest of the line up includes Lee Morgan, Curtis Fuller, Robert Timmons and Jymie Merritt and you'd think they'd played together for years. The fast-paced opener Alamode is followed by a gentler, more sedate Invitation which features some fine horn playing from Morgan, Fuller and Shorter; then on to a faster paced Circus to close the first side. Side two opens with a fine reading of You Don't Know What Love Is. This really plays up the strength of the three horn section with great solos from all three, but more importantly, some really fine interplay. The album closes with a storming rendition of Gee Baby, Ain't I Good To You. As ever, Blakey is the glue that binds this band together with his propulsive style, but he never gets in the way of any individual, being perfectly content to lead from the back. The recording is a fine example of Impulse at its best: each instrument clearly defined, dynamic, warm and full bodied, set in a fairly convincing acoustic space; in fact a fair approximation of live jazz. Recommended.
Supplier: Vivante Tel:0208-977-6600

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