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Sadao Watanabe - California Shower
JVC XRCD24 VlCJ 61031-1 Reviewed by DD
Yes, I know, Watanabe was a favourite of hi-fi dem's back in the late '70's and this album does have echoes of the Grusin and Ritenour albums that were also favourites at that time. This is hardly surprising in that both play on this set, but then so do Harvey Mason, Chuck Rainey and Ernie Watts. If you can listen through some of the more obvious 'seventies'isms' here (not too easy with every track I accept, the second number does sound like along lost sibling to the 'Starsky and Hutch' theme), it quickly becomes obvious that Watanabe is a very capable player with a quite lovely tone. Sure this is fusion music and whilst it doesn't scale the heights of Weather Report or Return To Forever, it is superbly played, all of it is very enjoyable and some of it is just darn good. Listen to the gorgeous melodic take on 'Desert Ride' to give just one example. The recording still stands up well and this XRCD24 version gives it the necessary polish to make it sound like it was (very well) recorded today. My only quibble is the short playing time of just under 37 minutes. Chuck away your prejudices and give this a listen!
Supplier: Vivante - www.vivante.co.uk
(44)(0)1293-822186

Hot Hot Heat - Make up the breakdown
B-Unique / Sub Pop BUN047Reviewed by MC
A few months ago Hot Hot Heat came from nowhere with their single 'Bandages' and took the charts by storm. Let there be no doubt about it, 'Bandages' was a classic single, but are Hot Hot Heat simply a one hit wonder? Quite frankly - I'm not sure. Hot Hot Heat are (irrespective of being Canadian) part of the same blossoming New York punk-funk scene as Radio4. They mix funk and ska rhythms with punk sensibilities and produce a rough, retro sound which suits the music perfectly. But, for some reason, the album never quite clicks. The music is never let off the leash, the punk never really feels out of control, the funk has no soul and the songs can't quite cut it. Which is a shame, because there is so much about the album which I love. Perhaps as they grow more comfortable with their sound, as the zeitgeist for punk-funk passes, they will hit the highs that must be within their reach. As it is, it's a mixed bag. If you like Radio4, then this is an album for you. Otherwise, you have to accept that you might just be disappointed.

Kari Bremnes - Norwegian Mood
KKV FXCD 221 Reviewed by AH
Since it's release three years ago Norwegian Mood has received some rave reviews especially as a 180g LP. Stylistically, these timeless Kari Bremnes roots-based songs which so casually span folk, jazz and blues idioms have to date stood up to the tests of time pretty well. In an HDCD format their recording takes on another dimension. The ethereal and delicate yet full-bodied sound of her vocal line in songs like 'Day' and the rolling lyrical melody to 'Wave On Rock' has an unbelievably lifelike presence. Moreover, each and every cadence is delivered without unduly drawing attention to the production process. This is a natural sounding CD with a capital "N". Whereas other recordings barely offer a glimpse of the ways in which the vocal thread can react or interact with instrumental scoring, it is here on Norwegian Mood that those authoritative Bengt Egil Hanssen piano notes and a plump and vibrant Giermund Silseth double bass are recreated in such a way as to reveal their true relationship with one another and the deliciously rich Bremnes singing. The result is a perfect sense of timing and an accuracy that gives you confidence in all the performances.
Supplier: www.hotrecords.uk.com

Michael Kaeshammer - No Strings Attached
Alma Records ACD10202 Reviewed by AH
Normally when I see the word 'Jazz' appear on a press release I give the album a pretty wide berth however, this disc by Canadian Michael Kaeshammer could be the one to turn me on to Jazz in a big way. Kaeshammer studied classical piano in Offenburg, Germany as a young boy, but progressed to listening and emulating the boogie-woogie masters at the tender age of 13. By the time he was 16 Kaeshammer was a fully fledged performer playing at clubs and festivals all over Germany. No Strings Attached, Michael's second release for Alma Records, is what I would call a 'light jazz' album that also incorporates elements of gospel and blues and a healthy dollop of scintillating boogie-woogie. The opening number 'Snow At Lake Simcoe', a Kaeshammer original, was inspired by the movie 32 Short Films Of Glenn Gould and is as moving and dramatic as it's title suggests. Michael breathes new life into Scott Joplin's 'Maple Leaf Rag' and lays down foot stompin' boogie woogie on 'Nora's Boogie' and 'Boogie Woogie Stomp', but the real pearl for me is 'Drown In My Own Tears', a gospel number featuring a sensual organ intro from Art Neville and a smoky, Tom Waits-ish vocal from Eddie Bo. No Strings Attached is a terrific album performed by some of Canada's finest musicians. Its also a blinding recording!

Nils Lofgren Band - Live
Hypertension HYP3220 Reviewed by AH
Nils Lofgren has had along and glittering career, coming to prominence as a lead singer and guitarist with Grin and then creating a fine body of work as a solo artist, most notably with the superlative Cry Tough. He's probably best known as lead guitarist in Bruce Springsteen's E Street Band, where his sparkling playing has lit up great albums like Tunnel Of Love and more recently The Rising. His last solo album, the mainly acoustic Breakaway Angel, was a triumphant return after six years away from the recording studios. Now comes Live, a double album containing 23 tracks of blistering fretwork recorded at the charmingly named Rams Head Tavern, Maryland in 2002. The band, consisting of Lofgren on Guitar, Timm Biery on drums, Buck Brown on keyboards and second guitar and bassist Wade Matthews are in superb form and cover a wide range of styles from acoustic rockers ('Putting Out Fires'), blues ('Too Many Miles'), ass-kicking rock workouts ('Damaged Goods') and ballads ('I Don't Wanna Talk About If). All but four of the tracks were written by Lofgren and go to prove what a consistently fine songwriter he's been throughout his career. Live contains a bonus cut of 'First Time Ever I Saw Your Face' (recorded at his home) and was produced by Lofgren who has to be congratulated on a tremendous job -the sound quality is really quite awesome. Terrific stuff.

Easy Star All-Stars - Dub Side Of The Moon
Easy Star Records ES-1012 Reviewed by RP
The commercial opportunities that these big anniversary dates offer are nearly always snapped up by the music industry. Dark Side Of The Moon's 30th birthday celebration is no exception. A special edition CD and LP release was always on the cards. However the idea of marrying Pink Floyd's classic and highly affected Seventies art rock to the reggae dub medium must be either the whim of a madman or a blinding moment of genius. We owe this extraordinary union to Easy Star Records vice president Lem Oppenheimer who conceived this project back in 1999. After those many months spent arranging, recording and mixing the immense and frequently experimental music of DSOTM we now have a rousing red, gold and green hued conduit into this resonant Floydian vision. Moreover, reggae's richly instrumental and heavily rhythmic possibilities serve up some juicy and quite distinctive cuts. No more so than a catchy version of 'Time' which features the well-known chesty baritone of Corey Harris alongside a speed-rapping Ranking Joe. Elsewhere reggae legends like the Meditations and Frankie Paul contribute lead vocals for 'Eclipse' and 'Us And Them', while that rock anthem 'Money' in the hands of Gary "Nesta" Pine Et Dollarman almost has you believing it was originally a Jamaican tune. This release should show rock and reggae fans the merits of both mediums.
Supplier: www.hotrecords.uk.com

Biffy Clyro - the vertigo of bliss
Beggars Banquet Records BBQCD233 Reviewed by MC
Biffy Clyro have become synonymous with the still nascent "brit-rock" scene, and rightly so, pairing world class songs to exceptional performances. But with the vertigo of bliss Biffy Clyro seem to have ditched the tunes and instead concentrated on telling stories. Gone are the hook-rich singles of their first album, replaced with much longer, much spikier, progressive rock epics. Gone too is the flowing quiet/loud dynamic that characterized the first album. The songs now use much harsh stop/start dynamics that break up their impact. In fact Biffy Clyro's second album, the vertigo of bliss is a distinctly difficult record to come to terms with. Biffy Clyro could have simply recorded another Blackened Sky, sat back and watched their fan base grow. Instead they have created something far more challenging. But the essential reasons to love Biffy Clyro remain. Rest assured the songs are still there (albeit sometimes well hidden), as is the explosive interplay between the band. But it is the singer's intelligent and uniquely emotional performances that define Biffy Clyro, and these come across just as strongly as ever. Biffy Clyro have been accused before of being rock by numbers, this record should at least set that record straight. Not everyone's cup of tea for sure, but well worth a try.

Pet Shop Boys - Release
Parlophone 7243 5 38150 1 Reviewed by RP
For more than twenty years now the Chris Lowe and Neil Tennant axis has been one of our most inventive and accomplished acts. "Melodic", "camp", "ironic", "witty" and "laconic" are all aptly and often used descriptions for their brand of dance based pop and the 2002 album, Release is a natural progression in that sequence. The ten tracks here are thematically weighted in favour of romantic subjects. Sometimes they dwell on love's fickleness, 'Love Is A Catastrophe' and 'You Choose', while 'Email' and 'Home And Dry' reflect upon absence, insecurity and the sense of longing felt no matter what your gender preference. Indeed, 'The Night I Fell In Love' is unequivocal where gay relationships are concerned. The "Pet Shop Boys" sound underpins them all though through those distinctive and instantly recognisable vocals, programmes and mixes. Outwardly clothing these songs with an anonymous looking sleeve-one which hides the primary colours of a crumpled bloom on the liner as well as an LP pressed on (collectable?) white vinyl-is symbolic. Even the impurities seen within this pressing, while they may be detrimental to the sound, still, at one level, serves as a telling metaphor for the vagaries of the human heart.
Supplier: The Cherished Record Company - www.cherished-record-company.co.uk
(44)(0)1579 363603

Candy Kane - Whole Lotta Love
RUF Records RUF 1091 Reviewed by AH
God, how music needs artist like Candy Kane. In the age of Pop Idol, Fame Academy and one talentless boy/girl band after another, Miss Kane is like a breath of fresh air. This girl has personality, a huge presence (in more ways than one), a massive voice and, more importantly, talent to go with it. Candy's an ex-stripper and her bad girl background slots in nicely with her earthy music. On opener 'Something's Got A Hold On Me' she rips it up with all the verve of Etta James in here prime - believe me, this girl is one powerful singer. She comes over all sugar pie desanto on Carole King's 'Wrap Around Joy', squeezing acres of fun and happiness out of a great tune, and then gets nice n' sleazy on the boogiefield 'Put It All There', which features some fine harmonica blowing from Charlie Musselwhite. , Candy's choice of covers is all done in the best possible taste, with her version of Willie Dixon's 'Whole Latta Love' not straying a million miles from the definitive Led Zepplin version. She's not afraid to cover more contemporary material either adding a lovely sensual Dinah Washington makeover to Difford and Tillbrook's 'When the hangover strikes: 'Whole Latta Love' is a whole lotta fun from a whole lotta talent and I would love to see her live - I reckon it would be a hoot.

Connie Lush - Unfaithfully Yours
Blue Rhythm Records BRI03 Reviewed by AH
Connie's last album was 2000's Live At The Royal Albert Hall, a fine example of her live show recorded when she supported BB King on his UK tour. BB is a committed fan of La Lush (as she's affectionately known in Europe) and she has performed at his world famous Blues Club on Beale Street, Memphis as his guest. Hailing from Liverpool, Connie Lush is a vibrant sassy performer who's as much at home singing tender Ella Fitzgerald style jazzy ballads as she is belting out full-on blues rockers and big soul drenched numbers. She might only be five feet nothing but to watch this woman live is an experience never to be forgotten; She has excellent stage presence and a wonderful, easy going way with her audiences. Her latest album Unfaithfully Yours is her most accomplished to date and finds her stretching out as a songwriter of some substance, she wrote (or co-wrote) seven of the ten tracks, and the quality is such that they sit comfortably alongside Randy Newman's 'Guilty' and the classics 'I'd Rather Go Blind' and 'Don't Sound Out Of Place' Her band have been with her for over ten years and back her superbly, but special mention has to go to guitarist John Lewis whose contribution on this album is enormous and marks him out as one of this country's most innovative and stylish blues players.

Dead Ringer Band - Till Now
Massive Recording Co 7322882 Reviewed by RP
Before the meteoric solo career Kasey Chambers (along with the rest of her immediate family) featured on four Dead Ringer Band albums. A healthy cross-section through their particular brand of Australian contemporary country music that was recorded between 1993 and 1998 appears on this generous eighteen-track compilation. Fans of The Captain and Barricades Et Brickwalls will be pleased to find more songs that centre on Kasey's captivating voice. In addition to the seven numbers written by one Chambers or another there are another eleven covers that prove how well they all handle and interpret other people's music. The pick of these songs include an opening Maria Mckee 'Am I The Only One', the beautifully paced Nanci Griffith 'Wish It Would Rain', that evocative Slim Dusty penned 'Saddle Boy' and John Prine's heart rendering 'Speed Of The Sound Of Loneliness: Like most pick-and-mix collections it lacks an overall cohesion but is worth the admission fee for any of those individual gems that have at least been transferred to an acceptable standard. A CD then, that provides. useful starting points from which to investigate either the Kasey Chambers or Dead Ringer Band catalogues.
Supplier: www.hotrecords.uk.com

Warchild - Hope
London Recordings 50486 5846 2 Reviewed by MC
Now I would normally try and avoid reviewing a compilation, but if that compilation is the most listened too album on my hi-fi for well over a month, then I tend to think again. In 1995 the children's charity Warchild set about to produce an album in just one week, using the cream of Britain's newest talent. The result, Help was a defining album of the era and one that rarely leaves my side. Now, in order to try and bring relief to the children of Iraq, they have repeated the effort to make Hope. But, leaving that aside, what you have is an album where artists play against type and produce breathtaking results. Paul McCartney and David Bowie in particular produce their best recordings for decades, but (as with Help) it is the lesser names that give the album its, power, with Tom McRae and Billy Bragg both producing tracks of exceptional quality. Ignore the fact that it is a charity record, and ignore the fact that it is a compilation, this album holds itself together and produces a coherent listening experience. But the real strength of the album is that, as a consequence, it brings out the best of genres that might otherwise have been a turn-off. On this record even Lee Ryan from Blue seems OK.

Bjork - Greatest Hits
One Little Indian TPLP 359 Reviewed by RP
Not the first compilation disc courtesy of this ex-Sugarcubes vocalist (a collection of re-mixes lifted from her debut LP appeared in 1994) but surely a far more representative fifteen track exploration of the music that has comfortably crossed over into clubland through its hard techno beats in songs such as 'Army Of Me' or the house-orientated material that spawned early hits like 'Human Behaviour: More recent examples of Bjork's inventive and piercing song writing includes 'Hidden Place' and 'Pagan Poetry' taken from the 2001 album, Vespertine. There's even room for 'Play Dead'; a version of which featured on the soundtrack for that abrasive and frequently disturbing indictment of youth culture, The Young Americans. Whilst few would regard these as palatable insights, they do both musically and lyrically focus the attention in an undeniably vivid and instantly recognisable way. Making this LP a great starting point for a new generation of listeners, while to those already in the know it serves as a telling summation of all that has gone before.
Supplier: The Cherished Record Company - www.cherished-record-company.co.uk
(44)(0)1579 363603

The Cinematic Orchestra - Man with A Movie Camera
Ninja Tune ZEN 78 Reviewed by JK
Man With A Movie Camera is a new soundtrack to a film of the same name made in 1929 by Dziga Vertov. An appealingly positive, avante garde documentary of everyday Russian life this is a silent movie for which Cinematic's leader J. Swinscoe has adapted existing TCO tunes, written new ones and interpreted a jazz classic. Seeing the band play along to the film was a great experience and one which you can enjoy with the DVD, however the music is more than up to the challenge of entertaining in its own right. Almost entirely instrumental, it uses a more complete Cinematic Orchestra than usual, strings and percussion have been added to the usual keyboard, drums, double bass, turntables and sax line-up. The feel of the album varies from relaxed to lively, never in your face or ambient it is a sophisticated yet uncontrived sound that will keep you coming back for more. The vinyl mix has a little more bass than seems necessary but is otherwise very appealing. It could also be a little more open but the saxophone and drums are.well captured and there is plenty of energy on the livelier tracks. If you want to hear contemporary jazz that seeks to entertain with tunes rather than intellectual challenge this is a fine place to start.

The Darkness - Permission to land
Atlantic 5050466-7452-2-4 Reviewed by MC
Do you have the entire Def Leppard back catalogue hidden in your loft? Do you think A night at the opera is Queen's best album? Is air guitar a valid form of self-expression? If you secretly answer yes to any of these questions then The Darkness are the band you have been waiting for. The Darkness are shameless: they are pomp-rock on a scale not seen since the last Kiss world tour. They've already toured with all the best, cut their teeth and learned all the tricks. Permission to land is so joyously comic it could be mistaken for a novelty record, if it weren't so good. The album is a mix of the best elements of rock from the pas( thirty years, with more than a hint of skillfully observed humour. Or to put it another way, imagine 'Bohemian Rhapsody' stretched to 38 minutes... If this sound like your idea of hell, don't buy it. But if you long for the days when stereotypes didn't get in the way of a good song, when a guitar riff and solo could be 90% of a song and when a strong falsetto was de-rigueur for every aspiring singer, go out now and give your hard earned money to The Darkness.

Patti Larkin - Red=Luck
Vanguard records VCD797272 Reviewed by AW
In Boston, Patti Larkin's adopted hometown, she's held in such high regard that she even has a day named in her honour, called 'The Patti Larkin Day: In this country Larkin's not so well known, even though she's released a string of fine albums. She's not an artist who stands still musically and she's almost impossible to categorise, which is refreshing in this increasing sterile world we inhabit. Red-Luck follows hard on the heels of 2000's Regrooving The Dream (also on Vanguard) and like that album finds her moulding traditional singer/songwriter values with flavours of the Middle east, weaving it all together with drum loops, samples and all manner of unusual instruments. The songs were conceived when Larkin shut herself away in a shack at the end of Cape Cod in 2001, the album being recorded in her own studio later that same year. Writing in such a nomadic environment has given the songs an ethereal, longing atmosphere, never more evidence than on the quite beautiful 'The Cranes', a song about migration of Cranes from the Gulf Of Mexico to the Artie. Larkin's band are superb and her skills on acoustic and electric guitar are a constant source of wonder and delight. If you're into artists like Sarah McLachlan (Surfacing Era), Paula Cole, Heather Nova and Shawn Colvin I suggest you try this it's a work of considerable elegance.

Sonny Rollins - In Japan
JVC XRCD24 VICJ 61036-1 Reviewed by DD
Recorded in 1973 live at the Nakano Sun-Plaza, this isn't one of Sonny Rollin's best-known recordings. However, Rollins accompanied by Yoshiaki Masuo (guitar), Bob Cranshaw (bass), David Lee (drums) and Mtune (congas), generates such energy from the first bars of the opening track 'Powaii' he quickly blasts away any feelings of second best about this set. Propelled by some nimble bass work from Cranshaw this is an incendiary opener with some great soloing from all involved as the band stretch out in this 18-minute number. Rollin's piercing tones naturally leading the way. This is followed by their take on the Rollin's classic 'St Thomas', its calypso beat and straight-ahead treatment making a refreshing gear change after the frenetic pace of the previous number. Next up is one of my favourite Rollin's tunes, 'Alfie'. It gets an extended workout and at over 13 minutes the number doesn't feel a minute too long as Rollin's wrings every last drop of emotion from the tune. The closer is 'Moritat' ('Mack The Knife' to you and me), which echoes in some ways the trick that Rollin's pulled off so outstandingly with Way Out West with his ability to take hold of a tune with slightly comical overtones and turn it into great jazz. He does so again here and the audience clearly love it. Even if you've accumulated all of Rollin's better-known stuff, this would be a worthwhile addition to any collection.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Tom Gullion - Greens and Blues
Naim cd060 Reviewed by DD
This album is a tribute to Chicago and takes its title from the elevated trains that criss-cross the city. In fact, all the music was composed or arranged whilst Gullion was riding these trains. That's not to say that the music here is a literal transcript of that but the experience, the myriad distractions of the city passing by the windows of the train, helped Gullion to focus and more clearly set down his ideas. Recorded by Ken Christianson using a pair of vintage AKG mikes direct to two-track over an intensive two day session, Gullion (tenor and soprano sax) is joined here by John Moulder (guitar), Steve Gillis (drums), and Rob Amster (bass). The spacious, warm acoustic (as in Gullion's first release Cats Cradle naimcd029), of the Union Church, Hinsdale is equally as evident as in that session, the whole thing feeling very natural and 'live: Kicking off with Coltrane's 'Lonnie's Lament' the quality of this band is immediately evident. Driven hard by Gillis' percussion Gullion really takes flight here, as does Moulder with a particularly nimble solo. There are no weak tracks here, but I particularly like the closing number 'Lament' dedicated to its composer, J.J.Johnson. It's a truly beautiful piece. This is a strong, assured set from a very talented quartet. The recording does it full justice sounding unforced, full-bodied and very natural.
Supplier: Naim - www.naim-audio.com

Carmen McRae - Alone, Live At The Dug
JVC XRCD24 VICJ 61037 Reviewed by DD
McRae began her career as a vocalist with Benny Carter's orchestra in the '40's moving on within the same decade to the Mercer, Ellington and Basie bands. She made her name as a leader in the '50's and enjoyed along and successful career through to the early '90's becoming famous for her witty interpretations, distinctly toned voice and great phrasing. This album, recorded live in Tokyo in '73 finds McRae at the peak of her powers. Accompanying herself on piano, her smoky tones and confident delivery set the album apart. She's clearly enjoying herself as she romps through a set of standards. Just listen to her laconic take on 'As Time Goes By' (nice to hear it with the full intro by the way), or her delivery of the bluesy'Supper Time: Appropriately enough given the title of the last number, the feel of a club gig is very evident with tinkling glasses and cutlery interspersed with polite applause. Fortunately this isn't distracting a la Jazz at the Pawnshop, and simply adds to the atmosphere of a really enjoyable set. The recording is entirely natural placing you front row (or front table I suppose), and whilst McRae is no Billie Holiday this is a relaxed and outstanding set.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Ella Fitzgerald - Fine and Mellow
Pablo / Acoustic Sounds Reviewed by DD
I have a much played original of this album and remember being knocked out by the title track on Jozz Record Requests many, many moons ago and rushing straight out to buy the set. For me it ranks alongside the very best of Ella's later work and even after all these years it's never been far from the turntable. Joined by a knockout band including Clark Terry, Joe Pass, Zoot Sims, Ray Brown and Louie Bellson, Ella is on top form throughout. The opening take on Holiday's 'Fine and Mellow' is drenched in the blues, and Ella uncharacteristically is at her raunchiest here. The band excel themselves and as the pace builds both Sims and Terry contribute great solos, perfect accompaniment from Pass and driving percussion from Bellson. It really is five minutes of pure joy. The rest of the set is also very strong with 'Round Midnight' and 'Rockin' in Rhythm' amongst a stack of other standards. Sure Ella's voice by '74 when this was recorded is past its peak but the enthusiasm, the feeling for a lyric and the phrasing are all there. However, strong as the set is, it's the title track that gets me every time. The album also ranks as one of Pablo's best-recorded releases but Acoustic Sounds have definitely gilded the lily here. What was already a solid, dynamic recording set in a spacious and very believable acoustic has gained in all areas. If you haven't heard this before you owe it to yourself. Rush out and buy a copy now!
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Carmen Lundy - Old Devil Moon
JVC XRCD 0037-2 Reviewed by RG
Recorded in '97, this album features seven standards alongside four originals. Backed by a fine, fluid rhythm section featuring Billy Childs (piano), Santi Debriano (bass) and Winston Clifford (drums). The band is expanded with some stellar players including Frank Foster, who contributes some lovely tenor to 'When Your Lover Has Gone', Randy Brecker and Omar Hakim. Lundy has a resonant and expressive voice and she deftly handles the standards in this set. Standouts from these include the Latin flavoured title track and a particularly brisk treatment of 'Star Eyes: My favourite is a poignant, relaxed take on Ellington's 'In A Sentimental Mood'. This brings the best from Lundy's deep, sensual tones. Foster and Child's work here stands out here too. The only grit in the Vaseline of what could be a superb jazz set is in the treatment of Lundy's own numbers. Here the orchestration is fleshed out with synth and electric bass and the style is much more 'jazz lite' than the out and out jazz treatment of the bulk of this set. 'Love Me Forever' is a good example; with its breathy choruses and funky bass it'd sit more happily on a Luther Vandross album than here. For all that, this is a very enjoyable and wellrecorded set from an artist I previously knew little about and am now glad to have been introduced to.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Miles Davis - Volume 3
Blue Note / Classic Records Reviewed by DD
Presented as a facsimile of the original Blue Note 10" and in a 12" 45rpm plain-sleeved version this is an intriguing combination. Accompanied by Horace Silver, Percy Heath and Art Blakey, Davis is captured in what was at the time of its release his strongest album. It's here, emerging from heroin addiction, that he first spreads his wings as a true leader, contributing distinctive solo's throughout and setting the tone of the whole album. There's an early take of 'It Never Entered My Mind' a track that was to come to full flower a few years later on his album 'Workin''. The faster paced stuff like The Leap' and 'Take Off' are equally confidently handled and this 10" album forms a lovely, bite-sized chunk of delectable early Davis. The (mono naturally) sound quality is fine, plenty of presence to Davis' horn, firm bass and an entirely natural cymbal sound. Moving to the 45rpm 12" though was fascinating. The music gained most obviously in pare, crisper and distinctly more urgent, the performances also gained a notch or two in involvement in that Davis' horn sounded better integrated with the rest of the band, it was less dominant and therefore more easy to pick out the subtle interplay at work and the characteristics of the other instruments. This delivers all the experience of the real 'rare as hens teeth' (as Ray's Jazz would have it) thing
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

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