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The Music - The Music
Virgin CDHUT76 Reviewed by MC
One of the most hotly anticipated releases this year, The Music is the debut album by the band of the same name. After two 'proper' single releases The Music have already built a solid reputation and seem to be succeeding in the charts. Which is odd given this album is not very good. The Music have several mind-blowing instrumentals, bongo-driven pounders that build up into a frenzy of guitar and feedback before breaking out into (real) dance anthems. However none of these are featured on the album. Instead the album treads the ground where Baggy once roamed. The Music seem to have thrown off the psychedelic experimentalism and instead simply written a collection of Manchester standards. Instead of sounding like a blast of raw talent The Music is a lesson in studied chart flirting. It's not a bad album, by no means. The Music still represent a young band that passionately believe that guitar music has a lot more to give. More than that, The Music's skill lies in arranging songs so that the slightest change in sound can give entire new direction to song, sending a rock standard spiraling into a funk freestyle. The problem is that this album is too conservative, it just fails to excite. But then again, The Music are rapidly becoming this years press darlings, which won't do them, or any other current British guitar band, any damage.

Ryan Adams - Heartbreaker
Cooking Vinyl COOK 205 Reviewed by RP
You've written some classic songs and are heading down to Nashville for a couple of week's studio time. Hanging with your mates- the multi-talented Ethan Jones and David Rawlings at the Woodland Studios is gonna be fun, and hooking up with Gillian Welch and Emmylou Harris will make this a Southern excursion to remember. Twangy inflexions and soft textured arrangements for acoustic guitar, banjo, chamberlin and Hammond B-3 colour but never dominate Ryan's modern take on folk rock. The lyricism, Dylan-like poetry and harmonica, together with some prairie grass shades courtesy of the girls in tracks like 'Oh My Sweet Caroline' and 'Come Pick Me Up', dovetail beautifully as he chews over those contemporary rift valleys that can tear at a human heart. It's music bathed in hormones, with alternate moments of stomach churning agony and emotional ecstasy permeating all fourteen of these superb songs. The Adams' show rolls on and Heartbreaker is, in every department, at least the equal of his more recent and critically acclaimed album, Gold. Ethan Jones, who handles engineering, production and mixing duties on both releases, delivers impressive levels of tonal accuracy, instrumental detail and soundstage depth. Guitar, vocal and piano sequences really rip and are even better revealed on the CD which has a sharper bite and greater impact. An exceptional record whatever the format.
Supplier: The Cherished Record Company - www.cherished-record-company.co.uk (44)(0)1579 363603

Rising Sons - Rising Sons
Sundazed/Columbia LP 5054 Reviewed by RP
The Rising Sons were a legendary, but short-lived and virtually unrecorded, West Coast country rhythm 'n' blues band. True, there was a single, 'Candy Man'/The Devil's Got My Women', and bootlegs from their 1965 Columbia recording sessions did surface later when the principals, Taj Mahal and Ry Cooder, found fame and fortune. Completing the line up was guitarist Jesse Lee Kincaid, bass man Gary Marker and striker of sticks, Kevin Kelly, who deputised here for Ed Cassidy after he'd wrecked a wrist ripping out a flash flood version of 'Blind' Willie McTell's side one opener, 'Statesboro Blues'. Refreshingly, this Sundazed LP sheds light on a further eleven rootsy and uncomplicated acoustic cuts that include 'Take A Giant Step', 'Walkin' Down The Line' and 'If The River Was Whiskey: Okay, so while a down beat (heavily ironic?) 'Let The Good Times Roll' remains something of a mystery, the rest of this album is plain speaking in it's acknowledged debt to those masters of a blues tradition. Howlin' Wolf, Rev. Gary Davis and Little Walter have all left indelible marks upon these musicians. The rustic dobro and mandolin pickin's that Cooder digs out give it that necessary infusion of straw and cotton bales. While an open and honest sounding transfer of this Terry Melcher production sits comfortably with these versatile musicians.
Supplier: The Cherished Record Company - www.cherished-record-company.co.uk (44)(0)1579 363603

Pina - Pina
Realworld CDR W702 Reviewed by RG
It's always nice to discover a disc that defies categorisation and refuses to sit in some neat little pigeonhole, but then that's exactly what Real World should be all about. I've absolutely no idea where Pina hails from, or where her musical roots lie, and you'll get no help from this album, so disparate are its musical influences. It all comes as a welcome breath of fresh air, dispersing the formulaic sameness of the pop charts. The tracks are built around her strikingly unusual voice. Not your traditional female vocal, it's got character rather than outright beauty, attitude rather than perfect poise. It's a powerful instrument that communicates the heart of a lyric and somehow makes it human. Part hypnotic chant, part heartfelt moan, it has a captivating quality that weaves in and out of the swirling instrumental textures. And that backing draws on just about every available genre, from the Cello theme that opens and establishes 'Josephine' and saws away at 'Bring Me a Biscuit' to the Brit Pop retro of 'The Tower: It's a heady melange that manages to retain its individuality and avoid becoming derivative. Above it all you've got that voice and that attitude, giving direction and driving the whole shebang along. Predictable it isn't, but challenging and invigorating it definitely is.

Mark Selby - Dirt
Vanguard Records VCD 79718-2 Reviewed by RG
Mark Selby's songs have long garnered critical acclaim for other artists, offering a powerful mix of raw eloquence and accessible rock melodies. His debut album More Storms Comin' was a considerable success, but that title was prophetic if his follow-up, Dirt is anything to go by. A straight-ahead power trio is subtly augmented with selected keyboards which fill and embellish without clogging or submerging the powerful, driving, guitar based sound. Verging on sophisticated ZZ Top at times, touching Van Morrison at others, the thing that elevates this music is the quality of the lyrics. Most of the song-writing credits are shared with wife Tia Sillers, although, tellingly, Kieran Kane pops up on the quietly haunting blues of 'Easier To Lie'. In fact, deceit and betrayal are a recurrent theme across the whole album. Which is kind of odd given that the musical honesty of the approach is what makes it so appealing. Those who enjoy classic American roots rock should add Mark Selby to the list of names to watch, alongside the likes of Ryan Adams, and that's a compliment indeed. Dirt is an excellent place to start your acquaintance.

Mari Boine - Remixed
Jazzland 014 760-2 Reviewed by RG
Remix albums are as popular as their quality and musical worth is unpredictable. However, at least in this case you have the Jazzland imprimatur that is as near to a Kite mark as you're going to get: That and the source material itself. Mari Boine's haunting vocals and musical textures are a ready playground for the more inventive mixmasters around. They're here in abundance, from Nils Fetter Molvaer to Jah Wobble, via Those Norwegians and Bill Laswell. And whilst everyone has their favourites the distinctive character of the raw material binds the project together into a surprisingly coherent whole. The results vary between the electronic textures and convoluted soundscapes of Chiluminati and the subterranean mobility and understated empty spaces of Biosphere's Hanging Valley. The names say it all. This is music to kick back too, to listen in the dark too, to let wash over and around you. Even at its most insistent it insinuates rather than muscles its way into your consciousness. But it's no less powerful for all that. A perfect introduction to the multi-textural fascination of Jazzland's musical outer reaches, it might even convince you that the Jazz / Trance / Dance fusion has a sophistication above and beyond its apparent similarity to teenage soundtracks. Don't confuse the two. This is a beast of a completely different colour - one that commands respect.

Jimmy Eat World - Bleed American
Dreamworks 450334-1 Reviewed by RP
Tempe, Arizona's answer to Blink 182? No. Not quite. But the band formed in 1994 around guitar/vocalists Jim Adkins and Tom Linton; drummer Zach Lind, and bass man Rick Burch, do occasionally serve up that frenetic Enema Of The State guitar-based sound on this their third album. More in evidence is a U.S. tradition of rock music that voyeuristically ruminates over the last rites of a relationship in 'Cautioners', or muses on that gut wrenching moment when "that" women grabs at your heart and expertly pulls it, still beating, through your rib cage on 'Your House'. An up tempo single, 'The Middle', and songs like 'A Prairie Chorus' recreate a sense of that parochial small town, middle America mentality. The most telling song, for a variety of reasons, is its' title track. An indictment of social isolation, 'I'm not alone because the t.v.'s on', and of therapy, 'I'm not crazy because I take the right pills', encapsulates Bleed American's slant on the modern condition. Frustratingly, following September Eleventh, the band's convictions have given way to a degree of sensitivity, and the album's title has been dropped in favour of an eponymous tag. A serviceable Dutch? Pressing does not possess the same sparkle, detail or range heard on a Bob Ludwig mastered CD, but finding a vinyl release is always a pleasure in itself.
Supplier: The Cherished Record Company - www.cherished-record-company.co.uk (44)(0)1579 363603

Oasis - heathen chemistry
Big Brother Rkidcd 25 Reviewed by MC
Another Oasis album and another disappointment. I know I shouldn't get my hopes up, but I can't help it. The excitement that they might possibly recreate Possibly Maybe is always present. But yet again they fall short. In fact Oasis are not the same band that wooed us back then. Only the brothers Gallagher remain of that initial line up, and as such 'Heathen Chemistry' should be judged, not against an album eight years its senior, but against their closest rivals in the charts today. But it's this comparison that disappoints; it's all just a little comfortable; this is an album to put your feet up to. But lets not get too scathing, there are some real gems here. The singles do what singles should, the quiet numbers make the world seem like a better place, and the track-three stunna 'hung in a bad place' sees Oasis capture (albeit far too briefly) some of the flame they once held aloft. The problem is, instead of turning into a louder version of Doves, Oasis have turned into slower version of Kula Shaker. Whilst we wait for the regeneration that one day must surely come, I shall go back to listening to guitarist Gem's old band, Heavy Stereo, where I can get the same homages to Gary Glitter, but without the grit taken out.

Dave Alvin and The Guilty Men - Out In California
Hightone Records : HCD8144 Reviewed by AH
In 1980 Dave Alvin, along with brother Phil, formed the much loved Blasters, probably the best 'unknown' band in America at the time, and even formed their own particular style of playing which they dubbed 'American Music' - a potent blend of R&B, Country, Blues and Rock n' Roll. Four albums and five years later Dave Alvin left to pursue a solo career, releasing a string of fine recordings - Blue Boulevard, Museum of Heart and the stunning King of California being particularly noteworthy. Which brings us nicely to this little gem, a live album recorded in August 2001 at The Blue Cafe, Long Beach and January 2002 at the Neighbourhood Church, Pasadena and featuring 76 minutes of Dave Alvin and his brilliant band in their natural habitat. The Band, comprising of Alvin (Guitar and vocals), Bobby Lloyd Hicks (Drums), Gregory Boaz (Bass), Joe Terry (Keyboards), Chris Gaffney (Accordion), Rick Shea (Mandolin 8 Pedal Steel), Brantley Kearns (Fiddle), John 'Juke' Logan (Harmonica) and Greg Leisz (Dobro) are one of the hottest around in the USA at the moment and the interplay between them is a constant joy to the ears. The way they blend Alvin's 'Little Honey' with the old blues chestnut 'Who do you love' borders on the mercurial. Out in California is the best type of live album - one that makes you wish you'd been in the audience.

Courtney Pine - Back In The Day
Blue Thumb Records LC 00383 543 580-1 Reviewed by RP
Pine needle. Even before dropping into that opening groove I had my suspicions aroused by those sleeve notes proclaiming this to be, "A cutting edge blend of tradition and technology with a trace of '70s style soul throughout". This sounded an awful lot like a disclaimer to me. Anyway, the man picks up pretty much from where his 1997 release, Underground, left off. Hip-hop rhythms flow from the MC Mello and Blak Twang raps, which, when coupled to those DJ Sparkii drum programs and the scratchy turntable edges of DJ Pogo, once again illuminate Courtney Pine's desire to align jazz much more closely within a pop context. These, and earlier frequent collaborations with the likes of Mica Paris, serve as a prologue for this album. Here, it's the presence of London Community Choir members on a Joan Armatrading cover, 'Love and Affection', or those Beverly Knight and Eska Mtungiuezi lead vocals for tracks like 'Inner State (Of Mind)' which redevelop those soulful moments. However, Pine's classy sax and keyboard playing songs like Curtis Mayfield's 'Hardtimes' are too often overshadowed by a misguided pursuit of the soulless, showy and quite paradoxical samples, scratches, programs and raps. In my opinion, if you have half a mind to buy Back In the Day, then you've clearly made ample intellectual provision.

Coldplay - a rush of blood to the head
Parlophone 7243 5 40504 2 8 Reviewed by MC
I never liked Coldplay. I'd seen them live a few times, and heard Parachutes more than enough, and I found them bland, repetitive and boring. Which is why a rush of blood to the head came as such a surprise. Where their debut was self-conscious, vain and lacking in variety (both in style and pare), Coldplay's second long-player is brim full of relaxed self-confidence. The album benefits greatly from a more careful assembly, so whilst Parachutes sounded like the same song played twelve times, a rush of blood... is a coherent collection of songs that swells and retreats naturally over fifty-four minutes of life re-affirming music. The change could not be more dramatic. This is a beast of an album that lifts Coldplay firmly onto the pillars of the great, standing them alongside the most obvious neighbours: U2 and REM. The orchestration and the recording perfectly complement the songs, adding life and movement to what would otherwise be slightly stodgy album tracks. Chris Martins vocals also sound more natural and less considered, giving a greater emotional payload, and a slightly raw punch when needed. All in all this is a superb album that deserves a good concentrated appraisal. It might also be noted that, after being so pleasantly surprised by this album I returned 'Parachutes' to the Hifi, and found it just as dull as ever.

Boo Radleys - Kingsize
Creation CRECD228 Reviewed by MC
Most people will forever associate the Boo Radleys with their three minute sugar-pop anthem 'Wake Up', but the Boo Radleys were actually consistently one of the most progressive and creative bands of the nineties. They acted as an indicator for the general state of the music industry, whilst the Boo Radleys still existed all was not lost, there remained some hope for the UK music scene. And then, in January 1999, the Boo Radleys split. Catalyzed by the commercial failure of their final album they turned in, and went their separate ways. Which was singularly odd, because Kingsize was by far the best thing they ever recorded. For all the previous albums intentional experimentation, Martin Carr just couldn't hide the fact that whenever he turned his attention to music, classic tunes would appear, as if from nowhere. No matter how much he tried to hide it, Boo Radleys albums brimmed with classic hooks. But Kingsize didn't hide it. The album brought together Carr's skilful arrangement, Sice's soulful and the bands constant experimentation with technology and for the first time in their career produced a homogenous entity. Alongside the big guitars and choruses lie songs of reflection and contemplation, Kingsize pulls everything the Boo's had been working on for years into one bite size package. Their genius will be much missed.

The Blind Boys Of Alabama - Higher Ground
Real World CDRWI07 Reviewed by RG
Close harmonies not really your thing? Gospel send you screaming from the room? Pedal steel conjure up nightmarish images of Tammy Wynette? Well, now's the time to put aside your prejudices, 'cos if you don't you'll be missing out on a musical trip you really want to be taking. And while you're about it put aside your preconceptions too. I sincerely doubt that this is even remotely like any Gospel album you've heard before. The Blind Boys Of Alabama have been singing together for over sixty years! They are backed here by the multi-talented Ben Harper along with Robert Randolph and The Family Band. The material is eclectic (traditional Gospel through to Prince) but it's the wonderful, understated arrangements, the confidence to leave so much space that makes this so special: That and the range of styles on offer. There's the wonderful chuggy guitar riff that underpins 'Higher Ground', one any metal band could be proud of. Then the upbeat funk of 'I May Not Can See: Throw in stellar performances of 'People Get Ready' and 'Many Rivers To Cross' and you begin to get the picture. These are great voices, singing from the heart, and it's that passion that illuminates this disc. Swallow your scepticism and enjoy.

Beth Nielsen Chapman - Deeper Still
Sanctuary Records SANCD 122 CD Reviewed by RP
Beth Nielsen Chapman is one of the strongest singer-songwriters to come out of Nashville in recent times. Her silky lyricism in tightly woven ballads like 'World Of Hurt', 'Deeper Still' and 'Sleep', despite their romantic and spiritual undercurrents, is often pierced by intense moments of pain, longing or loss. Love is the regenerative force here. One, that has in the past provided Beth with a degree of solace, proves once again to be the determining thread for this release. She is joined on six of a dozen songs by either John Hiatt, Vince Gill, John Prine, Bonnie Raitt or Emmylou Harris artisans who do not lightly pledge their allegiances. They, too, like Joni and Jennifer, have wholeheartedly embraced those indistinct boundaries of a new wave in country/folk music. Part of that has been the adoption of increasingly sophisticated production values. Deeper Still is little different. Vocal overlays, synths and string arrangements, dulcimer, Native American flutes and sampled sounds - all vie for our attention on an album so awash with these bold primary colours that it's easy to lose sight of much softer tonal shades. These simpler pleasures are revived for tracks like 'All For Love' and 'Feathers Bones And Shells', where the writing for acoustic piano and guitar draws you more deeply within the temperamental fabric. Musically, decorative and emotionally, draining.
Supplier: The Cherished Record Company - www.cherished-record-company.co.uk (44)(0)1579 363603

Delbert McClinton - Room to Breathe
New West- NW6042 Reviewed by AH
With his last Album (The excellent Nothin' Personal) and this latest offering on the Indie label New West, it would appear that Delbert McClinton is enjoying some kind of musical rebirth with the record buying public. In truth McClinton has always been revered by his fellow musicians and it's the likes of Trisha Yearwood, Martina Mcbride, Garth Brooks and Vince Gill that have been helping to pay the bills by covering some of his songs. Room to Breathe features 12 more penned with long time writing partner Gary Nicholson, former NRBQ guitarist AI Anderson and Benmont Tench from Tom Petty's Band. Opener 'Some Kind of Crazy' sets the stall out, a swampy rocker featuring some fine Harmonica Blowing from McClinton, following hard on its heels is 'Smooth Talk', A Mid-pared bump and grinder with a real Stonesy feel. 'Lone Star Blues' reels in a whole host of Texan Superstars on backing vocals, but one of my personal favourites is 'The Rub', a Half spoken/half sung jazzy shuffle containing some lovely horn arrangements and subtle harmonica from McClinton. Every Delbert Album has a big ballad and Room to Breathes is 'Don't want to love you', an achingly beautiful lament with a lush string arrangement. It might very well be McClinton's umpteenth album, but Room to Breathe has the freshness and vitality of a debut recording and could very well be his best yet.

David Bowie - Heathen
CD ISO / Columbia 508222 1 Reviewed by DA
It says in my little book of generally held beliefs that David Bowie hasn't made a great album since Scary Monsters and Super Creeps, although I am never one to be swayed by general opinion when it comes to music, but then I liked Earthling which may make me officially mad. Having said that, even I have to admit that with the release of Heathen the book will have to be rewritten because this time round Bowie has really brought everything together. On his latest album you will not only find consistently good musicianship, excellent arrangements, and great tunes, but also for the first time in ages he has produced something which is actually very commercial. Bowie has gone back to Tony Visconti for his production and arrangements. Their partnership was responsible for most of the high spots of Bowie's career, and it can surely be no coincidence that the resulting album is excellent. Listening to Heathen is like hearing little kisses to the past throughout, a touch of 'Space Oddity' here, a little 'Hunky Dory' there, even, dare I say it, a smattering of Tin Machine. Unfortunately the CD is somewhat coarse sounding, so buy it on vinyl if you can, but even if you can't, if you've ever liked Bowie then you won't be disappointed.

Jazz Music

Lee Morgan, Sonny Clark, Doug Watkins, Art Taylor - Candy
Classic/ Blue Note 1590 Reviewed by DD
Mention Lee Morgan and most people will immediately respond with his classic The Sidewinder but his legacy is much greater than that fine album; he played on Coltrane's Blue Train, with Art Blakey's Jazz Messengers, and has released many great albums under his own name. This '58 release is one of them. Supported by the superbly propulsive rhythm section of Sonny Clarke, Doug Watkins and Art Taylor, Morgan delivers a cracking, hard driving set. There are no weak numbers here, but 'All the Way' brings the best from Morgan's gentler side and the nicely titled 'Who Do You Love I Hope' showcases the strengths of the band with some great piano from Clark and crisp, driving percussion from Taylor. Morgan really was a superb trumpeter, brash, dynamic and confident yet able to conjure up real subtlety (a skill he was to improve still further in the '60's), when required. This album is another argument in favour of Classic's mono re-issues. The quality and power of the music making override any issues as to the absence of stereo and if anything the mono recording delivers more weight and dynamics than your average stereo. A lovely album, lovingly handled by Classic and strongly recommended.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

George Coleman, Mike Stern, Ron Carter, Jimmy Cobb - 4 Generations of Miles
CheskyJD238 Reviewed by DD
This live set brought together four generations of Miles' sidemen for a one-off concert in New York. Given the huge stylistic changes in Miles' music in the decades represented by these players tenures with him - ranging from Kind of Blue through to Davis' final albums - this could have been a mess. It's a credit to the professionalism of all involved that it's actually a fine set. The youngster here is Mike Stern, more laid-back than his work with Miles '80's bands, but his Telecaster cuts a really distinctive line throughout with some particularly fine playing in 'On Green Dolphin Street'. Jimmy Cobb is the last surviving member of the Kind of Blue band and it's particularly poignant when the band launch into 'All Blues' from that classic album. Sure nobody's breaking barriers here but they're certainly enjoying themselves and that comes across with conviction. Coleman's tenor playing is great throughout; just listen to 'Blue in Green', his fluid tones wringing the emotions from this lovely autumnal piece. The recording quality is good with a tangible and happily non-intrusive sense of the audience, and each instrument well caught although I'd have liked a little more weight to bring out Carter's bass playing more fully. Recommended.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Eden Atwood - The Bossa Nova Sessions
Groove Note GRV1012-1 Reviewed by DD
I'd not heard of Atwood before this, her debut album for Groove Note. Shame on me since she's clearly talented and has previously released four albums for Concord (about which according to the liner notes she's not too enthusiastic), before dropping from the music scene for a while. This set marks her return and Atwood does a fine job in her interpretations of this selection of standards taking in Jobim's 'He's a Carioca' 'Meditation' and of course 'Girl from Ipanema'. The set also includes a version of Lennon & McCartney's 'Fool on the Hill', not exactly a Bossa standard but I suppose we have Sergio Mendes to blame for that. Atwood has a fine, sultry voice that she brings to great effect particularly on the slower numbers like 'Meditation'. This is an excellent debut for Atwood but there are really two stars at work here; Bill Cunliffe's excellent arrangements and superb piano playing throughout really lift the set above the ordinary. Coupled with yet another superb recording and pressing from Groove Note (even more evident in the bonus 45rpm disk included with the album), this is a winner. My only quibble is that the pure Bossa numbers were recorded in English rather then the original Portugese; to my ears at least this would sound even more sensual but maybe that's just the dirty old man in me!
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Ben Sidran - Old Songs For The New Depression
Go Jazz 60492 Reviewed by DD
I'm a long-time fan of Sidran's stretching back to my purchasing a pressing of Bop City in '83. This album dates from a year earlier but for some reason and despite its great title I've missed it 'til now. What a mistake. Dedicated to Hoagy Carmichael (along with Mose Allison, a major influence on Sidran), this is billed as 'nine pieces of new music, road tested at concerts and clubs.. and forged in front of live audiences'. This shows, since the ensemble playing from Sidran and a strong band including Marcus Miller, Buddy Williams and Richie Cole, is spot-on. The band's enjoyment just leaps out of the speakers and Sidran's lyrics in turn wry and as in 'Old Folks' his Carmichael tribute, nostalgic, are put across with conviction. The recording quality is acceptable, a bit two-dimensional, but the quality of the music making quickly overrides any audiophile concerns. For me this highly enjoyable album is best, summed up by the lyrics of 'Turn to the Music'. 'When your high hopes don't materialise, and you're looking at life right between the eyes, you got no gas in your tank, you got no chicken in your pot, your best friend ain't so friendly now, and your best girl, she ain't so hot, why don't you turn (turn turn) to the music...you can count on that'. Enough said!

Miles Davis - Young Man With A Horn
Classic/ Blue Note LP 5013 Reviewed by DD
This beautifully presented mono 10" album in its thick card sleeve looks and feels like an original but for its immaculate appearance and superb pressing. There's something about jazz, particularly of this vintage (the set was recorded I think, there's no indication on the label, in the early '50's), that cries out to be played on vinyl and boy, does this re-issue bear this out. Who needs stereo when you have music making of this calibre recorded with a punch and realism that perfectly evokes the original sessions? Fronting a fine band including Jay Jay Johnson, Jackie McLean, Oscar Pettiford and Kenny Clarke, everyone is in superb form as they tear through the six numbers here. Standouts are 'Wouldn't You?' (with great horn playing from Johnson and McLean), 'Yesterdays', the lightning paced 'Chance It' with some superb soloing from all and, well actually they're all standouts and a great snapshot of one of the world's greatest musicians early in his career. The recording is solid, weighty and dynamic. I suspect that these Classic 10"ers, given that originals are as rare as hen's teeth, are going to be highly collectable. Now where's my wallet?
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Patricia Barber - Verse
Blue Note/ Premonition 7243 5 39856 2 Reviewed by DD
Barber is a bit of a 'love her or hate her artist. I don't fit this category in that I really like her when she's doing her straight-ahead stuff, but some of her more 'poetic' offerings do set my teeth on edge. The opener to this album 'The Moon' is a classic case in point with Barber intoning 'Should I leave Erebus to his own device? What chaos when the curtain rises..', but just when the lyrics had me reaching for the 'next track' button, some cracking playing kicks in; deep, deep acoustic bass, great bluest' trumpet, crisp, dynamic percussion which just kept me listening. Faster paced stuff like 'Lost in this Love' hook you into the groove straight away. And so it goes, but on balance the poetic overspill is always offset by her funkier moments and by great playing from all throughout the set. This really is a cracking band and with the likes of Joey Baron on drums, Dave Douglas on trumpet, and Michael Arnopol on bass it can't fail. With an exemplary weighty and dynamic recording I declare this curates egg good!
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

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