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Pink Floyd - Echoes
EMI 7243 536 11118 Reviewed by RP
It is easy to harbour hostile thoughts when most "best ofs" boil down to the common denominator: a collective reprise of some high-charting and undeserving singles. Echoes differs in a number of obvious ways. Pink Floyd's enduring and influential cult band status here merits a four LP format. The expanse of vinyl also lends itself to an exploration of music that includes the late sixties psychedelia, space and art-rock experimentalism, as well as those technical and instrumental triumphs lifted from Dark Side Of The Moon and The Wall. In charting this evolutionary process it passes through the Barrett years and those albums borne out of the long-standing enmity between Waters and Wright. There is space, too, for an epic title-track taken from Meddle and for those famously indulgent side-long eulogies like 'Shine On You Crazy Diamond' (Wish You Were Here). Early classics 'See Emily Play' and 'Arnold Layne' are cleverly and contrastingly paired with later songs, 'The Happiest Days Of Our Lives' (The Walk and 'Learning To Fly' (A Momentary Lapse Of Reason). The digitally remastered 'Emily' and 'Arnold' have rarely sounded better. While those stereo effects found in the likes of 'Money' are well-realised, even if they don't quite match that on the highly-regarded mo-fi pressing of Dark Side. However, at around £30.00, Echoes is a bargain not to be missed.
Supplier: The Cherished Record Company - www.cherished-record-company.co.uk (44)(0)1579 363603

Led Zeppelin - Physical Graffiti
Classic Records/Swan Song SS2-200 1198 Reviewed by DA
I must say that I was really looking forward to the arrival of this, the Classic Records reissue of the seventh Led Zeppelin LP. My original (UK) pressing sounds like the mould releasing agent had been substituted with sand, so crunchy and unpleasant is the sound. With Classic's flawless track record (groan!) with the Zeps to date, my expectations were high. Going straight for the jugular I dropped the stylus into the groove at the start of 'Kashmir: Oh bliss! Oh joy! No more ripping, tearing, shredding sounds, no more peak distortion, just an incredibly clear rendition of this magnificent track. Page and Plant may have brilliantly reinvented the song for their No Quarter album, but then that was their only option as the original version could never have been bettered. Physical Graffiti stands as Zep's most accomplished work encompassing many differing styles and attitudes across its four sides, from the sprawling blues workout of 'In My Time Of Dying' to the stomp funk of 'Trampled Underfoot', from the summery pop of 'Down By The River' to the orchestral 'Kashmir: Yet, even though it threatens to break apart, there is a cohesiveness, somehow none of the tracks could have belonged on any other Zeppelin album. So for rock fans Physical Grafti is another "must buy", and for audiophile rock fans then this pressing is the bees knees.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Tosca - Chocolate Elvis
G-Stone CD 006 Reviewed by RG
There's a loose amalgam of musicians and remixers centred, at least from this perspective, on the Kruder/Dorfmeister axis. It embraces bands and performers as diverse as Baby Mammoth and Bullitnuts and regardless of whose name appears at the top of the sleeve, the whole convoluted mass seem to chip in on an ad hoc basis, especially when it comes to the dub albums Suzuki in dub and Chocolate Elvis. Which of course makes both those albums the perfect departure point for a trip into the K&D nether world. The aesthetic conceit of a black Elvis impersonator gives you some idea of the intelligence and sense of humour that's at work here. Dub reggae in a Graceland style is the order of the day, with electronic orchestration the modus operandi. But don't get the impression that this is just more mindless dance music. These guys can play, real instruments as well as their electronic counterparts, and it's the seamless blending of the two that makes these discs so listenable. They involve real layering and textural variation, hooked to the kind of subterranean bass tines that start your toes tapping from the hip. Deep, deep bass and serious dynamics, mixed with a serious sense of humour are a compelling combination. Even that die-hard rocker DA was moved to move, if you get my drift.

Diana Krall - The Look of Love
Verve 549 846-2 Reviewed by SG
With an international reputation as a fine pianist and singer, Diana Krall has previously performed with her own trio. But this new album has a fresh approach, with lavish orchestral arrangements and backings of lush strings - obviously in an attempt by Verve to broaden her appeal. While this approach is understandable, much of the unpretentious, straightforward clarity of intimate interplay on albums tike All For You - A Dedication to the Nat King Cole Trio is lost, reducing the impact of her excellent piano work. On this release Diana Krall performs ten standard love songs, opening with a soft, bossa nova styled 'S'wonderful'. This gentleness is prevalent throughout the majority of tracks, with her more vibrant, penetrating side only coming through on three or four songs. Although she puts feeling and passion into most of her individual performance, it is the overly sweet strings that impair an otherwise nice recording. The sound is very good, if not totally natural, with a number of elements being mixed together. I hope this new, over-elaborate style that Verve has assigned this wonderful Canadian performer, is not a sign of things to come. Of course, this trend was also imposed on Nat King Cole.

Elastica - The Radio One Sessions
BBC/Strange Fruit SFRSCD101 Reviewed by MC
If anyone should release the summation of Elastica's career, then The Radio One Sessions would be the first choice. After all it was one Steve Lamacq, evening session stalwart for many a year, that first signed Justine and Co. If you can forget the constant line up changes, the constant comings and going, the celebrity boyfriend, the anagrams, the tabloid baiting, the heroin, the broken promises and long waits, Elastica were fabulous. And that's what this album does. It collects the best (with a few exceptions) from the previous eight years and puts it back to back. And it's great. And the first surprise is that everything makes sense. The huge disparity between the Elastica of 1994 that recorded Elastica and the Elastica of 2000 that recorded The Menace disappears. Instead this album provides a seamless progression that leads from their new wave roots to their modern climax. Elastica were essentially alive band. And this album catches this side of them perfectly. The choice of songs is superb, blending the singles with the brides and a few previously unreleased gems. And all are recorded by the sound men there at the Beeb. When turned up loud it sounds like Elastica are there, right in your living room, giving the best renditions they ever did. Remind yourself of the excitement they caused, remind yourself of 1994, buy it.

The Evinrudes - Drive Me Home
Flying Sparks TDBEP0057 Reviewed by RG
"If I was the Pope I'd get undressed, take off my robe and my bullet proof vest, put on Levis and a pair of Chuck Taylors, leave the Vatican, go live in a trailer. If I was a man I'd rule this planet, I'd beat up Michael, hang out with Janet, have me a child bride - a sweet little sophomore, daddy's little debutante, you know, the girl next door." There's nothing predictable about the duo that constitutes the Evinrudes. Destined to be a sheep farmer and a lawyer respectively, Brian Reed and Sherry Cothran took an unmarked left on their career paths and ended up gigging roots rock with a sense of humour and a serious attitude. Beautifully played and sung with a truly great voice, these are songs and lyrics that actually deliver the impact and uncanny accuracy that smart weapons only dream about. An EP that covers the album Little Red Stars and the forthcoming Someone Has To Be Pat Boone, these six tracks deliver a punch beyond all expectation. Buy, consume, wait for more but never neglect the message. "Somebody stop me before I tell the truth, fm a little angry, maybe a little too stoned, you better cover my mouth, you better drive me home."

Gene - Libertine
Contra CONTRA 2CD Reviewed by MC
Whenever people talk about Gene words like "survivors" and "hardy" spring to mind. Back when they started, a middle of the road pop band sounding somewhat like the Smiths was a safe bet. But situations change, and Gene's found they had nothing to differentiate themselves from the rest of the britpop leftovers. Years left in the wilderness would be enough to finish all but the most determined bands, but not Gene. With a strong fan-base behind them they began a slow metamorphosis. With Libertine, they complete their transformation from indie also-rans to a distinct band in their own right, building on their previous (excellent) album Revelations. Libertine has an orchestrated, dance floor feel, shaking away to the beat of a tambourine. Gone are the Smiths and Weller influences, Gene now fly by themselves. Eleven, well written, solid songs, all performed with adept skill and subtlety form the back bone for the album. But its Rossiter's vocals that sets the thing alight. The songs still crawl amongst the dirt of the city streets, with tales of messy break-ups and domestic violence, but all are sung with angelic innocence. They may not be about to start a revolution, but Libertine is a good solid album that makes the world that bit more interesting.

Gillian Welch - Time (The Revelator)
Acony ACNY-0103 Reviewed by RG
The Coen brothers know a thing or two about cinema, and judging from the seriously underrated Oh Brother Where Art Thou, they know a thing or two about music too. The blue grass sound track to that movie has already spawned a spin-off concert film and rocketed Gillian Welch to well deserved prominence. Time (The Revelator) is her latest album and it's the original article. Those who like their country cut with a mixer might find this a bit straight up for their taste, but those who prefer their spirit neat will lap up the sparse exposure of this recording: Two acoustic guitars, Welch's voice and occasional backing from producer/accompaniest David Rawlings. It's a raw and immediate experience, devoid of any comfort giving padding or distance, and all the better for it The self-penned songs match the hard-hitting presentation, stretching from the country standard 'Red Clay Halo' to the acerbic edge of 'My First Lover: It's an impressive line-up and delivered with skill and feeling made all the more effective by the unobstructed access offered by the recording. Despite the limited variety of forces available the songs never seem to lose their freshness or the album its appeal. If it's your thing then this is a disc that'll stay near the top of your ready use pile for years to come. Well worth a try.

Kimberley Rew - Tunnel Into Summer
Hypertension 0195 HYP Reviewed by RG
With a CV as long as your arm and an impressive array of supporters to back him up, you could be forgiven for asking Kimberley who? After all, despite the credentials it isn't exactly a household name. Except that there's not a reader out there who'll have been spared exposure to his greatest success. As principle song writer for Katrina and the Waves it was Rew who penned the almost narcotically catchy 'Walking On Sunshine: We'll gloss over the Eurovision winning 'Love Shine A Light' and instead concentrate on the associations with The Kinks, Squeeze and Robyn Hitchcock. Indeed the majority of this, his first solo album, is produced by Squeezes' Andy Metcalfe with extensive backing from Glen Tilbrook. And if that hasn't got your attention then the music certainly will. From the joyous opener 'Simple Pleasures' (the track that gets closest to the catchy naivety of 'Walking..: ) to the gentle poetry of 'Honey Is That Love' this is a deft and sure footed roller coaster ride through a landscapes of accents musical and vocal. It's a more mature view of the world that informs as well as entertains, and if Rew hasn't lost his touch when it comes to working a hook under your skin, he'd confident enough to let his lyrics do the talking too. Then there's always that deeply unfashionable but oh so entertaining instrumental that rounds the whole thing out.

Martin Stephenson And The Daintees - Live In The 21st Century
Fresh Ear Records FRESH CD 101 Reviewed by RP
Raw, earthy, improvisational and sometimes drifting in and out of tune, Live In The 21st Century is one for the ranks of the devoted. They will unhesitatingly part with the necessary ackers to add this disk to their collections. And why not. The recording was (as anticipated) inconsistent because this generous, 75 minute! CD was atmospherically taped, in situ, before an enthusiastic club audience. An opening, 'Wholly Humble Heart', warms them up nicely with its familiar rocky cadences. And although the later tracks, 'Left Us To Burn' and a blusey, 'Orange (Is The Colour Of Joy)', wobble just a little, the topical and frequently witty nature of those folk songs which follow will leave you in a forgiving mood where niceties of tone and technique are concerned. Numbers like 'Soloman', 'Goodbye John' and 'We Are Storm' finds Martin and Anthony and Gary Dunn at their best. Even new boy, drummer Alex Ross, excels in the gentle delivery of each pointed observation or ironic aside. The "you are there" level of intimacy (and perhaps you were?) is perhaps the most rewarding aspect of this album. It's a genuine, unpretentious and often anecdotal musical experience. Nobody stands on ceremony and the bands' interaction with the crowd is mutually infectious as a result.

Ooberman - Running Girl
Rotodisc ROTOCD001 Reviewed by MC
Two years after Ooberman charmed their way into the charts with Shorley Wall they have returned to make our world a brighter place. This is a band that have had to learn the hard way that kitsch sugar-pop and grand press stunts don't add up to a surefire hit. Dropped from their label after office politics moved against them they found themselves cast out of the public eye. And it may have been the best thing for them. Returning on their own label Rotodisc they have had the time to do things right. Gone are the grandiose clichés that dogged The Magic Treehouse and in their place are singularly gorgeous songs about pixies, ghosts and ice wolves. Its still every bit the Ooberman that teased us in '98, every bit as eccentric as before. In fact the songs sit very nicely beside the quiet moments from their previous LP, but this time they are imbued with a sinister edge, as if, at any moment something could leap out from the shadows. There may be influences behind Running Girl but it's a better man than I that can recognize any. Ooberman have always made characteristic music, boldly striding in the opposite direction to the zeitgeist and this is no exception. However, while their previous album was bogged down with sentimental syrup, this album is a summer breeze.

Rosanne Cash - Right or Wrong / Seven Year Ache
Raven Records- RVCD 129 Reviewed by AH
Raven Records are an independent label based in Australia who are developing the rather pleasing habit of releasing classic back catalogue by seminal artists of varying musical backgrounds. One to definitely buy is Mink De Ville's Cabretta/Return to Magenra (RVCD 59), and another essential purchase is this little gem from one of the original queens of new country. Right or Wrong and Seven Year Ache have long been deleted in this country, a travesty considering the wealth of quality songs and breathtaking musicianship displayed in their grooves. Nevermind, those lovely raven chaps have restored them to former glories and even added a tasty bonus track for good measure ('Ballad of a Teenage Queen') featuring Rosanne's father Johnny and The Everly Brothers. These albums closely resemble the feel of Emmylou Harris's Country Masterpieces, Elite Hotel and Luxury Liner. Not surprising when you see the musical credits. Most of Emmylou's superb band are here; James Burton, Albert Lee, Glen D Hardin, Rodney Crowell - even Emmylou herself! Great songs are in abundance too. Tom Petty's 'Hometown Blues', Steve Forbert's 'What kinds Girl', four stunner from then husband Rodney Crowell, and four from Rosanne herself, including the timeless Seven Year Ache (apparently written about Rodnet's philandering ways.) It's a real joy to see these wonderful albums available again. Well done Raven - and keep em coming.

Sarah Masen - The Dreamlife Of Angels
Epic EK/ET 85311 Reviewed by RG
The spiritual offspring of Emmylou might be a provocative appellation, but listening to Sarah Masen it's one that's hard to resist. Straight out of America's country heartland comes a voice of crystal purity blessed with phrasing and feel far beyond her years. She even has that doe-eyed fragility, that just waiting to get broke look that has haunted and reflected Emmylou's eventful career. And here too you'll find the sudden flash of steel, the glint of a sharp edge hidden in the folds of apparent innocence. Impressed? You should be, and not a little scared, because vision this clear doesn't happen along everyday. Get over the latent power and pain of 'Girl On Fire' and she blindsides you by rehabilitating an irredeemable ghost from your past. "Why is this so familiar?" you ask yourself, and then the shocking truth finally dawns: 'Give A Little Bit'. once the idealistic hippy high point of Super Tramps' gloriously naive path across the star spangled heavens is pared away and cut down to a delicate, essential truth. Out of the mouths of babes... For all her youth and visual delicacy Sarah Masen is a force to be reckoned with and one that seems destined to grow and bloom. Put this one at the top of your Christmas list: it's the perfect antidote to all that over indulgence.

Stacey Kent - The Tender Trap
Candid CCD 79751 Reviewed by RP
Miss Kent's voice has a distinctly old fashioned feel to it. This is not meant as a criticism. Yet the timing, soulful intonation and rhythmic delivery present in Stacey's interpretation of some wonderful popular standards is such that it's easy to imagine her confidently improvising a scat at any moment. That she chooses not to comes as a surprise, but then the style does still remain firmly rooted in a golden age of Fifties and Sixties jazz. Consequently, you would be unlikely to mistake this singer for one of the modern, identikit jazzettes like Patricia Barber or Holly Cole. Unfashionable by comparison? Yes, almost certainly. However, as with her Fred Astaire tribute LP, Let Yourself Go (Grooveland GLS 106), reviewed in Hi-Fi + issue 11, this earlier album, (which has terrific numbers penned by Cole Porter: 'In The Still Of The Night'; Irving Berlin 'They Say It's Wonderful'; the Gershwins 'They All Laughed', and of course Heusen and Cahn's title track), simply recreates a marvellous mood where the beauty of their songs, caressed by Kent's clean phrasing and snappy beat, are drenched in romantic poignancy. Great, sympathetic support from a five piece combo, that includes the melodic tenor sax of Jim Tomlinson and seriously good David Newton piano fill-ins, just pluck at the heartstrings all the more.

Thea Gilmore - Burning Dorothy
Shameless Records SHAME 1200 Reviewed by RP
Sales are usually a convenient vehicle for getting rid of all the old tat. Occasionally, though, an uncut diamond will mysteriously appear in the bargain bins. HMV, in a city which feeds forever off the reputations of a certain Fab Four, generously marked down Thea Gilmore's exceptional 1998 debut disc, Burning Dorothy. As Thea has been at pains to explain BD is in no way a homophobic allusion and anyone making that inference is thoroughly mistaken. Instead, this album attacks a "Wizard of Oz" mentality which seeks to perpetuate the modern myth that all you have to do to resolve life's difficulties is "click your heels" and return to a cosy apple-pie world in Kansas. An urban landscape polemic on relationships gone bad, sexism, exploitation and the degradation of women, this is a timely reminder that the music scene has a lot more to offer if only you're prepared to look beyond the proliferation of tame girl bands and their cover songs. Beautifully written lyrical ballads: 'Militia Sister, 'People Like You' and 'Throwing In', are doubly challenging because they marry a love song genre to uncomfortably jarring images like, "And she can be a hole in the mattress/ Of a back alley bedroom/Where each frame of her life is blue and stained with/People/People like you". These songs stand alongside the gauntlet thrown down by those traditionally hard-edged, rock numbers: 'Sugar, 'Instead of the Saints' and 'Get Out'. Punchy stuff.
Artistes Website: www.theagilmore.com

Wild Child Butler - Sho' 'Nuf
Analogue Productions APO 2015 Reviewed by SG
At 64, George "Wild Child" Butler is another of those excellent bluesmen that Analogue Productions seem to find in abundance. He is the authentic bluesman, learning his trade over years of painful difficulties, giving his music the feel of past experiences and lessons in life. This is country blues at its best, with Wild Child - a Willie Dixon protégé -singing and playing the harmonica with a polished rawness, reminiscent of Howlin' Wolf and Muddy Waters, bath with whom he has played. Musically this CD reveals his mix of inherent acoustic blues and more powerful, up-tempo style. This is not over-elaborate music, just simple blues, played from the soul. He is surrounded by other talents from the Analogue Productions stable namely Jimmy D. Lane (acoustic and electric guitars throughout), and Jamie Lee Robinson (acoustic guitar, on one track) - as well as Bob Stronger (Bass) and Sam Lay (Drums) - both old friends -with superb performances by all. The recording is up to Analogue Productions' usual high-standards, with the natural acoustics of Blue Heaven Studios assisting in the excellent results. This is superb album that shows just what the blues is, or at least should be, all about.

Yo-Yo Ma / Edgar Meyer / Mark O'Connor - Appalachian Journey
Sony SK66782 Reviewed by SG
Continuing my evaluation of Sony's recordings of Appalachian music, this album is full of spontaneous virtuosity, showing wonderful, improvisational communication between the performers. It is of course a follow-up to Appalachian Waltz, reviewed in the last issue, with additional contributions on a few tracks by James Taylor and Alison Krauss. Each performer still shows their own individual style and continues to draw on the influences and techniques of the others, but there seems an even greater empathy. With a number of albums of assorted collaborations between the members of the core trio, they now show remarkable unison and singularity. The music reveals feelings of nostalgia, enhanced by arrangements that illustrate melancholia and elegance, but permeated with glimpses of dancelike joviality. The overall observation of musical style is more distinctly American than the other "Appalachian" albums, and is therefore more seamless and defined. The sound quality is up to Sony's usual high standards, being rich in tone and fairly immediate, and the recording reveals plenty of life and texture. While I am not generally a fan of "cross-over" recordings, this CD is another great release of wonderful music that compliments this thoroughly entertaining series of recordings.

Nick Lowe - The Convincer
Proper PRPCD 012 Reviewed by AH
What a year. Firstly, Michael Owen stuffs the Germans with a blistering hat trick, then comes old campaigner Sir Nicholas of Lowe with this stunning new album to complete a memorable hat trick of his own. It was always going to be difficult to follow The Impossible Bird but Nick pulled out all the stops and made an even better album with the sublime Dig my Mood. Now he's gone and topped that with what is possibly the best album he's ever made. That's some feat. Mind you, anyone who's followed the career of this hugely gifted artist can't be surprised by the consistently high standards he's achieved over the last 20 years plus. After all, this is the guy who recorded one of the finest pop songs ever with 'I love the sound of breaking glass' (your mum wouldn't know who sang it bur I bet she could sing you the chorus!) He might be in more reflective mood these days but his ear for a killer melody is as strong as ever. All 12 songs are majestic but opener 'Homewrecker' is the best here and is quite possibly the finest he's ever written. The lyrics are pretty caustic but just listen to the emotion in the voice - quite stunning. Nick Lowe is the consummate songwriter and The Convincer gets my vote for album of the year. As Vinnie would say..."The boy done good".

The Cash Brothers - How was Tomorrow
Zoe Records 1019 Reviewed by AH
Strange the way things turn out. I was trawling through my record collection looking for something to suit my mood when I stumbled upon a long deleted album on Island Records by Andrew Cash entitled Boomtown, a fine record full of rocky road songs and life experiences. Unfortunately Cash never recorded for Island again and I had always wondered what had happened to him. Three days later this dropped on my doormat and my curiosity was satisfied. How Was Tomorrow finds Andrew working with his brother Peter on a fine collection of acoustic led rockers and moody, country inflected numbers. The brothers voices harmonize brilliantly and the quieter numbers remind me of Simon and Garfunkel, especially on the beautiful The only one' and moody opener 'Raceway: Further highlights come in the shape of 'Night Shift Guru', about the hopelessness of working in an all night take-away, and the utterly brilliant 'Nebraska', a real heartbreaker where man loses woman, and takes off in his car with sadness in his heart and Springsteen's 'Nebraska' playing on his stereo. Not the best album to put on to cheer yourself up! How Was Tomorrow treads a generally downbeat path but rewards the listener handsomely with repeated plays (as the best albums always do). It's also really refreshing to see genuine talent receiving a second chance, a rarity considering the short-term gain mentality within the music industry.

Julian 'Cannonball' Adderley - In the land of hi-fi with...
Speakers Corner/EmArcy MG36077 Reviewed by RG
This album catches Cannonball, along with brother Nat, at the dawn of a burgeoning solo career. It also encapsulates a pivotal moment in the development of jazz, the emergence of the next generation, heralded by Miles Davis and John Coltrane, both of whom would later share a stage with the Cannonball. Having said that his company here is hardly less impressive. A handpicked tenpiece selected by arranger/conductor Ernie Wilkins it constitutes nothing less than a condensed big band, offering similar power but greater dexterity. It's a mouth-watering prospect and right from the start it never disappoints. There's a mix of standards and new compositions here, and standouts are hard to pick because the overall standard is so exceptional. Forced to it, I'd go for 'T's Tune' and the Harold Arlen penned 'Between The Devil And The Deep Blue Sea', the latter a particular showcase for Cannonball's alto sax. The solos sparkle throughout, but as with all great bands it's the ensemble playing that hits home and really conveys the sheer energy and fun that drives this performance. The sound is glorious living mono and its directness serves the musicians well. This album is a rare treat and one to enjoy over and again - and what a great sleeve!
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Stew Cutler, Gary Bruer, Booker King - 'Insignia'
Naim cd 058 Reviewed by DD
Ho hum I thought, another jazz CD from naim. I was a few tracks into this disc before I realised that it possesses a hidden quality, an added bonus if you like. More of this later. This gently swinging set is pretty enjoyable played, as I started my review, as a late night chill-out set. At moderate volumes, the punchy, warm recording brings the best from King's bass lines, which along with rolling percussion work from Bruer nicely offsets Cutler's guitar lines. There's nothing that'll particularly shake the world here, no barriers being broken, but sometimes this kind of music making is just what you need. The band are clearly having a good time and after a gruelling day at the salary coalface this was welcome stuff. It's just as I was really settling into the album that the hidden quality hit me. It was maybe a hint of Bill Frissell in the playing who's music I invariably like to play loud, that inspired me to turn the volume up. It was immediately obvious that whilst it sounds great at low volumes, this music really thrives at 'realistic' neighbour bothering levels. The set really took on another dimension - very, very close to the punch and solidity of alive band. So there you have it 'two' albums in one CD: A late night relaxing session, or a truly dynamic, tooth rattling treat. One of Naim's best and highly recommended.
Supplier: Naim - www.naim-audio.com

The Anthony Wilson Trio - Our Gang
Groove Note GRV 2008-2 Reviewed by DD
I have to confess that despite being a multi award winning guitarist, Anthony Wilson was news to me. Seems I've been missing out since this album is something of a treat. Leading a trio that includes the splendidly named Joe Bagg on Hammond B3, and Mark Ferber on drums this is a really accomplished set. There's a relaxed precision about the playing and interplay of all three that drew me in from the first notes of the opening (title) track. Wilson is a big fan of Bill Doggett, the great Hammond player who's trio peaked in the '50's, and he was inspired to form his trio around his love for what he describes as this groove 'Harlem barroom style: Nothing wrong with that and this CD does a great job of capturing a good part of the essence of that sound along with a feel all of its own. It's much more 'nightclub' than 'Harlem barroom' for me - there's a slickness to the playing (thankfully without resorting to the saccharine) that lifts it from the alley. The band tackle a wide range of material taking in Ellington, The Beatles ('I Want You - She's so Heavy), to standards like 'Luck be a Lady: The recording is one of Groove Note's very best superbly capturing the tonalities of the Hammond, Wilson's guitar work and the weight of the percussion.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Orchestra Baobab - Pirates Choice
World Circuit WCD 063 Reviewed by DD
From the label that brought you 'Buena Vista Social Club' (admit it, it did once sound really fresh and new), comes this release from the Senagalese band Orchestra Baobab. The band was formed in 1970 to play at the opening of Dakar's Baobab Club and many of the players were lifted from the then top Senagalese performers The Star Band. Latin music had always had a strong influence in Senegal and Orchestra Baobab absorbed this, particularly Cuban music, adding a distinctly African influence of their own. The result, superbly exemplified in this set which was originally released in '82 is enthralling. Whether covering more overtly Cuban material like the opening track 'Utra Horus, the gently floating guitar lines of 'Coumba', or the more overtly African feel of 'Werente Serigne', the effect is a gently uplifting and totally delightful treat. It's become a staple at home and I've yet to pop it in the CD player and remove it before the last notes of the final track have died away. This is very special music: a true merging of two distinct idioms that really works. The band broke up soon after the original recording was released so this, and it's companion bonus CD of 6 additional tracks is a real treasure. Highly recommended.

Quincy Jones - explores the music of Henry Mancini
Speakers Corner/Mercury SR60863 Reviewed by RP
Did I commit foul and unspeakable acts in a past life? Is it now my eternal punishment to review Sixties kitsch? In this instance great big dreamy, sweet-toothed dollops of the stuff, whose melodies (including those from Charade, Moon River, Peter Gunn and Baby Elephant Walk) float around the room with the big band arrangements of Quinsy Jones. Being Jones there are plenty of fingerclicking improvisational moments - the kneeslapping Osie Johnson and humming bowed bassist, Major Holley, who have been recorded with such spectacular clarity in a reworking of the Pink Panther theme, are also cases in point. Obviously, this whole album is a time capsule drawing deeply from that period. Musically, some of these songs like 'Days Of Wine And Roses' and a jazzy, waltzing 'Moon River' have travelled well down the decades to become popular standards. So did some of the players. Among the top musicians on display are Clark Terry (trumpet), Tools Thielmans (guitar), Roland Kirk (reeds) and vibes man, Gary Burton. Plying their trades during three Phil Ramone produced recording sessions over the 5th and 6th February 1964 adds another dimension to a transparent, highly detailed and instrumentally forward Mercury source.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Ray Brown and his West Coast All-Star Giants - I'm Walking
GML- XRCD-30331 Reviewed by RG
Brown has to be the best known bass player in jazz, and is certainly one of its most prolific. Stints with Charlie Parker, Dizzy Gillespie and Bud Powell led ultimately to 15 years in the Oscar Peterson Trio, territory he still revisits even now. Instrumental in establishing the MJQ (which he still managed until very recently) Brown has remained prolific long past the point where his contemporaries have retired (in one way or another). This is a 1990 recording, but don't let that put you off. For once the appellation All-Star actually does justice to this band, with only the name of vibes player Ichiro Masuda raising a slightly puzzled frown. But don't worry on that score either. Browns affection for the vibes is well documented through his multiple collaborations with Milt Jackson, and he knows a great player when he hears one. The album features seven Brown compositions amongst its ten tracks including 'Freddie' which bears rather more than a passing resemblance to 'So What' run together with 'Freddie The Freeloader but none the worse for all that. However stand-out track has to be Time After Time' whose extended tempo and sparse arrangement provide the perfect showcase for Brown's pitch perfect playing, with spare a plenty for the rest of the band. Recording is good, but it's the performance that grabs your attention, with a really live feel to the band's playing.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

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