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Ben Folds - Songs For Silverman
EPIC 517012 3 Reviewed by MC
Sometimes it seems you take your eye off the ball for just a second, and suddenly things creep up on you. I guess that’s what happened with Ben Folds Five once they split.
Songs for Silverman is Ben Folds’ second studio album since he went solo (if you don’t count last year’s record with William Shatner). By going solo he has escaped the pressure of recording material suitable for a band, and instead has been able to concentrate on putting down a record that contains much more subtlety. Don’t get me wrong, you won’t put this record on and be amazed at the change, this is still basically the same line in piano-pop as the Five produced. But gone are the forced upbeat singles. In their place are songs that drip with regret and bitterness, peppered with just enough hope and forgiveness to lighten the mix.
Each song is a story, or at least the essences of the story are there, delivered with an exquisitely delicate touch. These are stories of loss (lost trust and lost youth) and of discovery, both good and bad. And each of these stories is presented in a form that is utterly perfect and carefully judged.
This album will profoundly effect your emotions, if you let it. And that, as far as I am concerned, is one sign of a great record.

The Boxer Rebellion - Exits
Poptones 986979-7 Reviewed by MC
Exits is a surprisingly accomplished debut album from a band that have been working the live scene for a while. The Boxer Rebellion started life as an acoustic double act, but have since grown into a fully-fledged band. This has given their music an interesting form, with thoughtfully sculpted songs, sung with unbridled passion, set against very carefully considered backing. A few years back a band called Annie Christian resolutely failed to make an impression on the musical world with a very similar sound – operatic vocals over a crushing guitar line. The Boxer Rebellion, though, may yet make more headway. The danger with this kind of music of course is that it is seen as pretentious and self obsessed: a trap that Annie Christian walked straight into. But Exits succeeds in steering away from this and keeps the album simple and well focussed. A number of awesome tracks form the core of the album, with heavily distorted guitars and feedback complementing the darker rhythm section. Then, in the slow tracks, The Boxer Rebellion show a glimpse of their roots, with the acoustic guitars swopped for layers of electric ambience.
Suffice to say, The Boxer Rebellion have something. This album may not yet be enough to catapult them to the front pages, but it’s still a fantastic record.
Superbly talented vocals and guitar make this an album that’s definitely worth owning.

Jimmy Thackery - Healin’ Ground
Telarc CD83624 Reviewed by AH
I champion this guitarist every opportunity I get, as regular readers of this magazine will testify!
Thackery is the consummate axeman; there isn’t a better exponent of the blues working in the field today. He consistently puts out fine albums and with each release he extends his fantastic technique, always offering something fresh in an overcrowded market. The last four, particularly, have been outstanding, not just from a guitarist’s viewpoint but from a songwriter’s perspective too.
Healin’ Ground finds him working with two of Nashville’s most respected songwriters - with spectacular results. From the offset Thackery makes his intentions known with some typically incendiary playing, fingers flailing wildly on the fretboard and sparks flying in all directions on ‘Let The Guitar Do The Work’. He follows with ‘Fender Bender’, an instrumental workout with nods to Hank Marvin one minute and every rock guitarist you care to mention the next. Thackery’s voice is gruff but perfectly suited to his sound.
He makes good use of what he’s got on ‘Had Enough’, a tough ballad where he really sounds like he can’t take any more. I know I say it every time but if you haven’t discovered Thackery then it’s high time you did, although if you’re one of those irritating purists I suggest you give him a very wide berth. The rest of us can just marvel.

Claire Hamill - The Lost And The Lovers
Archway Music ARCH009 Reviewed by RP
Singer, guitarist and songwriter Claire Hamill probes and pushes at the farthest outposts of the human heart in this collection of ten sweetly sung, beautifully played and constructed ballads.
Here she has the writing credits for all but the McCalmont/Butler track Blue, but it like the others, including: ‘In The Leaves Of The Park’; ‘We’ll Be Glad We Cried’; ’Don’t Prolong The Agony’; and that song so much loved by Eva Cassidy, ‘You Take My Breath Away’, have tenderness and yearning running through them. Her voice, which possesses a lightness of touch and a searching quality that is occasionally reminiscent of a youthful Joni Mitchell, bleeds into an attractively framed expression of emotional and intellectual need. Sentiments which have graced Claire’s music since an early 1971 teenage debut album entitled One House Left Standing have over the decades developed into this sophisticated musical pursuit of the innermost workings of our often troubled psyches. The backing players, who she has many generous words for in the liner notes, sympathetically trade these insights with Claire and each other on a clean sounding recording which has surprisingly good dynamics and presence.
Supplier: Hot Records - www.hotrecords.uk.com

The Who - Who’s Next
Classic/Track Deluxe 2408 102 Reviewed by PD
Has anyone ever recorded a better hard rock album than Who’s Next? This is simple music to be sure, but almost every choice Pete Townshend made in constructing this work hit the centre of the target.
Like an advertising jingle genius using his powers for good, Townshend repeatedly built the songs around a direct and distinctive human message, whether it was the cold political realism of ‘Won’t Get Fooled Again’, the cry of loneliness of the angry and violent man in ‘Behind Blue Eyes’, the declaration of obsessive love in ‘Bargain’, or the wake-up call to stoned rock and rollers in ‘Baba O’Riley’.
This lyric potency was wedded to equally powerful melodies and riffs, freshened by Townshend’s novel, varied and effective use of synthesizers for percussive effects, countermelodies and background colour. To bring it home Townshend had a band of players (including himself) at the height of their individual powers. Keith Moon, John Entwhistle and Roger Daltrey never deployed their respective strengths more effectively (and Entwhistle gave us his funniest composition in the craven ‘My Wife’). These were musicians so strong they didn’t need to solo, and like other great ensembles at the height of their powers they could and did put the songs first.
As for the sonics of this new re-issue, Glyn Johns’ superb recording job is done full justice. On ‘Baba O’Riley’, for example, the opening piano chords immediately sound right, with just the slightest touch of natural decay.
The natural quality of Pete Townshend’s vocal lines mid-song is startling. Drums and bass have force and presence but are not exaggerated. The lead footed and muddy sonics that plague so many rock re-issues are completely absent. Throughout the album, the resolution of fine details is rendered with precision and in perfect proportion. There are picks on the strings of those banks of acoustic guitars Townshend used for rhythm tracks.
Instruments that in other pressings might be mistaken for horns are plainly revealed as the work of a synthesizer. Even very modest touches of echo and reverb are consistently and clearly revealed throughout. The Classic sounded so good that I delayed a comparison of it to MCA’s ‘Heavy Vinyl’ 180g re-issue of a few years back, and to a UK original (Track Deluxe 2408 102). When I got to it there really was no contest between the Classic and the MCA. Although the MCA is certainly decent, in comparison to the Classic it is slightly veiled and a little less dynamic, with a level of tape noise suggesting a less than ideal source.
The real surprise for me was a comparison the Classic to the original UK pressing. Although the original is excellent, and slightly more dynamic than the Classic, the Classic more clearly resolved fine details while maintaining warmth that was absent from the slightly bright UK version. The Classic also fills out the mid-bass and bottom end without loss of detail or added bloat. Keith Moon’s drum kit is bigger and wider in the soundstage, and John Entwhistle’s bass has more presence.
Although the original’s high reputation for sonics is well deserved, the Classic is certainly in the same league. In my experience this is a special accomplishment for a re-issue. It should be noted that the Classic was mastered by Chris Bellman, a name I will be looking out for on future re-issues. Unfortunately, the Classic pressing does not quite maintain the standard established by the analog remastering – on my copy there is a very low level of steady state noise apparent in quiet passages from time to time. If not for that the sonics would merit the highest score.

Deadwood - Music from the HBO Original Series
Lost Highway B0004012-01 Reviewed by RP
A gritty, uncompromising and darkly humorous television series depicting the brutal underbelly of the old West pulls very few punches in its representation of legendary characters like Wild Bill Hickok or Calamity Jane (she is certainly no Doris Day). These dialogue excerpts (harsh and quite often offensive) intersperse a mixture of artfully chosen and evocative country blues tunes from the likes of Lyle Lovett ‘Old Friend’, Bukka White ‘High Fever Blues’, Mississippi John Hurt ‘Farther Along’, the Seeger Family ‘Snake Baked A Hoecake’ or Sonny Terry & Brownie McGhee’s ‘God And Man’. Some will be familiar others less so.
However, these and the less well known but wryly observed Michael Hurley ditty ‘Hog Of The Forsaken’ and a quizzical Julie Carter Cash track, ‘Will The Circle Be Unbroken’, make for a truly gripping recreation of that hard broiled and saddle sore world. They are songs that have been pared back to little more than fiddle, vocals and guitar for a display of raw musical simplicity that really gets beneath your skin. Those short and pithy snippets of dialogue actually manage to enhance rather than detract from a powerful sense of verisimilitude created here. While an unexpectedly fine, atmospheric and natural sounding recording from this mainstream label puts a bit a polish on all that bar room spit.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Ella Bell - Drink To Love
Luna Records EllaCD0001L Reviewed by AH
The music scene is just awash with female singers at the moment, and here’s another for you to get your (musical) teeth into. The charmingly named Ella Bell is the youngest of six children born to musical and unconventional parents, who in Ella’s words were “hippie/gypsy types and the only folk I knew who weren’t up to their eyeballs in hire-purchase furniture. If I wanted to be white, they wanted to be neon pink.” As a teenager Ella’s musical education was formed by the likes of Siouxie, The Cure, Talking Heads and Pink Floyd, but this album probably falls more into Sarah Mclachlan / Jann Arden territory, although there are traces of Pink Floyd’s quieter moments along with a dreamy, almost Enya-esque quality to some of the songs.
A dark and eerie richness surfaces occasionally, as it does on ‘Come On A Journey’ with its pulsing bass lines and almost regimented drumming, whereas others, like the subliminal ‘Drink To Love’, cut right through to the very soul and show a tender and ethereal side to her writing, which at all times maintains the very highest standards. Drink To Love won’t be available in record stores, but at Beanscene (an expanding coffee and music house chain) and off the label’s website, which is www.lunarecords.co.uk. It’s a brave move, I hope they know what they’re doing. And I hope you like coffee.
Supplied by: www.lunarecords.co.uk

June Carter Cash - Press On
Dualtone 80302-01130-2 Reviewed by RP
The Carter-Cash dynasty permeates every aspect of this album with that wonderful clarity found in a crisp and sunny Appalachian mountain day.
June’s voice reflects that marvellously rugged, clean and airy quality as she seamlessly switches between deeply touching or sorrowful songs like ‘The Far Side Banks Of Jordan’ (with Johnny Cash) on the one hand and those witty often outrageously funny observations in ‘Gatsby’s Restaurant’ on the other. Her superb auto-harp playing, the acoustic simplicity, fine musicianship from Rodney Crowell, Bob Johnson, Norman Blake and Marty Stuart and those underlying themes of family and faith adds to that acute sense of integrity and dignity running throughout Press On. There’s also a compelling version of ‘Ring Of Fire’, where June’s auto-harp is joined by Blake’s guitar and Jason Carter on fiddle, which should with its delicacy make you completely reappraise this classic country anthem. When you couple this to June’s lovely solo rendition of a Carter family standard like ‘Will The Circle Be Unbroken’ then you know that there is an undisguised feeling of continuity – a musical pedigree which stretches right through from the opening A.P. Carter ‘Diamonds In The Rough’ to this closing Mother
Maybelle Carter farewell.

Holly Golightly - Slowly But Surely
Damaged Goods DAMGOOD 232-LP Reviewed by RP
Holly’s self-consciously retro appeal frequently borders on pastiche and in these flexible rhythmic excursions that recall a variety of female vocal styles from those late Fifties salon numbers to an early Sixties groove she weaves a dance like pattern much in keeping with the cover artwork seen here. Nine of the dozen songs are Golightly originals, the others carefully chosen covers. Often her singing for songs such as ‘On The Fire’ is double or even treble tracked to recreate a sense of girl group harmonies. Sometimes these sugary layers are a little too sticky. The difference though is in the application of a cutting lyrical edge. Lines like “Your love is a lie and you love a liar” to the closing words of ‘Dear John’ “As it falls from my hand I never felt less” resonate and rip aside the warmth of a soft focus vocal glow. Moving away from these frustratingly tiny voiced threads to a passable imitation of Peggy Lee in the tender Billy Myles song ‘My Love Is’, Miss Golightly goes on to prove that she has genuine credentials and could perhaps be a diva in her own right. Stitch together bottleneck, rhythm guitar, sitar and six string bass lines and you get an attractive instrumental backdrop to proceedings.

Kasey Chambers - Wayward Angel
Virgin Records CDVIR218 Reviewed by AH
When in Perth in 2000 I was hearing a lot about a certain young lady called Kasey Chambers, her debut album The Captain was everywhere and difficult to miss. I bought it and was amazed at the earthiness of the song-writing and her vocal style, a sort of countrified Rickie Lee Jones - just as quirky but instantly accessible. The follow up, 2001’s Barricades and Brickwalls, was another strong set and gained her a foothold in the lucrative US market, prompting influential magazine Rolling Stone to proclaim her “the freshest young voice in American music”, not bad for a nomadic hippie from the Australian outback!
Fast forward to 2005’s Wayward Angel, 14 mainly self-penned songs and definitely her finest to date. Chambers has garnered praise from fellow professionals like Lucinda Williams, Steve Earle and Emmylou Harris and it’s to artists like these to which she tilts her cap. She can be introspective (‘More Than Ordinary’), rootsy (‘Wayward Angel’), biographical (‘Paper Aeroplane’) or just plain kickass and greasy (‘Guilty as Sin’), but wherever the music takes her the girl always handles it with oodles of class. Chambers keeps Wayward Angel a family affair with father Bill on lap-steel guitar and brother Nash in the producer’s chair. Also in tow is renowned session guitarist Stuart Smith who lays down plenty of his trademark fluid work.

Mary Gauthier - Mercy Now
Lost Highway 602498641682 Reviewed by AH
The last three albums from this supreme poetess have been of the highest standard, but with Mercy Now she’s really moved up a gear. This is Gauthier’s Car Wheels On A Gravel Road, her defining moment in what has been a long, hard journey of self discovery.
If anyone has the right to sing about the darker side of life then it’s Mary Gauthier. An alcoholic father, a cancer suffering mother, constant drinking and drug taking, jail and detox houses – you name it and Gauthier’s life has been touched by it. Eventually she came out the other side, stronger for the experiences and focussed on getting her life back. She opened a Cajun restaurant (a major success), picked up a guitar and started writing and performing her songs in local coffeehouses.
Gauthier’s ability to paint vivid pictures with words is her greatest strength. ‘Falling Out Of Love’, the album’s opener, conjures up some of the most heartrending images ever committed to tape:“falling out of love is a dangerous thing, with it’s crucible kiss and its ravaged ring…” she sings, without a trace of self pity.
Show me another singer who has the ability to make a broken relationship so damned beautiful. Pure genius from start to finish.
Supplier: Hot Records - www.hotrecords.uk.com

Jessi Alexander - Honeysuckle Sweet
Columbia 5198962 Reviewed by AH
One glance at the musicians Jessi Alexander lists as an influence should be enough to convince the listener that this isn’t just another talentless bimbo thrust into the limelight by the merciless Nashville moneymen. Jackson Browne, Bonnie Raitt, Tom Petty, Emmylou Harris, The Band…, just a few of the names Jessi fondly remembers listening to as a young girl growing up at her father’s house in Memphis. She clearly listened well because elements of the above artists abound on Honeysuckle Sweet, her debut album for Columbia. Alexander also knows how important surrounding yourself with the right musicians can be; she’s enlisted the likes of The Jayhawks’ Gary Louris, Benmont Tench of the Heartbreakers and Dan Dugmore, veteran of all those classic Ronstadt albums, to help her create the mood. Although Jessi doesn’t have Ronstadt’s power, those early albums can be cited as a reference point, along with Trisha Yearwood on the beautiful ‘This World Is Crazy’. Jessi spent her formative songwriting years producing work for other artists and stepping out of the shadows can be a daunting task – just ask Matraca Berg. Alexander has a good chance of cracking a notoriously fickle market though; she has great songs, a voice on the right side of rootsy, a top notch band and she’s beautiful – not a necessity, but helpful in this shallow world we inhabit..

Night Train To Nashville - Music City Rhythm & Blues 1945-1970
Lost Highway B0002100-01 Reviewed by RP
Lost Highway’s growing contribution to the recorded arts continues with this musically significant and sonically irrelevant collection charting the impact of the Nashville R&B movement. It criss-crosses between soul, blues and gospel to embrace jive and boogie-woogie rhythms on a journey that encompasses music by the famous in Etta James and Johnny Adams to those intriguingly obscure cuts like the countrified blues of Arthur Gunter on ‘Baby Let’s Play House’ and the Tennessee State Penitentiary tenor singing of the Prisonaires for Johnny Bragg’s melancholy ballad ‘Just Walkin’ in the Rain’. In some instances the proximity to bluegrass and country blues style is blindingly obvious – on other occasions there are only the barest of rural threads clothing these diverse performances that have spanned the decades and influenced so many musicians from all genres. This is an album that should lead to a healthy exploration of the soulful Southern tones of Roscoe Shelton, the deeply held sadness of Christine Kittrell or the keyboard genius of Esquerita. The generous and informative inner sleeve notes for all thirty-five tracks also encouragingly charts this rich seam in the black musical heritage.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

David Midgen - Little Stranger
Dekkor Records DRCD001 Reviewed by AH
Back in the good old retail days, MCA were hellbent on breaking a band called The Blessing. They moved heaven and earth to get them up the charts with the single ‘Highway 5’, but like so many others they slipped off theradar. I only mention this because David Midgen’s voice bears a remarkable resemblance to William Topley, The Blessing’s lead singer. It’s deeply resonant and filled with a lonely ache, and the songs contain a maturity rarely found in one so young.
Midgen hails from a musical family, and although classically trained on the French horn he moved over to the piano when his father bought him one for his 21st birthday. It was then that his passion for song-writing took a hold and he immersed himself fully, basing his style around musical heavyweights like Nick Cave, Randy Newman, Tom Waits and Neil Young. Those names will give you an idea of what he sounds like, albeit in much more of a jazz/blues vein. He understands how to wrap a song around a strong melody, as he does beautifully on ‘Pennies’ with its cascading piano hook and lilting summer vocal.
Midgen, along with Amos Lee, are at the forefront of a new breed of singer/songwriter, ones with huge crossover appeal who could do for the chaps whatNorah Jones has done for the ladies.

Silver Sun - Disappear Here
Invisible Hands Music Ihcd35 Reviewed by MC
I have had to wait nearly seven years for this album. In 1998 Silver Sun released Neo Wave, an album that was met with universal disappointment. And although it gave Silver Sun their biggest chart hits to date, they slid silently away into obscurity. Then suddenly, last year, their website sprung into life, and Silver Sun burst back onto the live scene. So, seven years away from the spotlight, how have Silver Sun changed? In three words: not at all. In fact Disappear Here does something even more exciting than developing the band’s iconic sound: it retreats back to their original formula, delivering a sustained blast of classic Silver Sun.
The album opens with their comeback single, ‘Bubblegum’, which does exactly what it says on the tin: a dose of sugar coated guitar pop to rival any of their old singles. Then, through a ten-track album, they demonstrate that they can provide classic retro melodic pop as well. Blending influences ranging from Gary Glitter to the Beach Boys, they mesh close harmony with fuzzed up guitars and create music from a different age.
It’s a telling fact that you could pick any track off this record for a single. Like a child force-fed sugar before break-time, this album jumps and jerks with a furious energy – guaranteed to put a smile on your face.

Teenage Fanclub - Man-Made
Pema PEMA002 Reviewed by MC
Teenage Fanclub have what is commonly described as an “established” fan-base. Indeed, most of their fans are now so deeply established, they no longer need to book a babysitter for their children, but then, after all, the band themselves are no spring chickens. However, unlike many bands they could easily be compared to, Teenage Fanclub still exist on the fringe of popular music, inhabiting the world of independent record labels and small-scale releases.
Unlike bands such as the Flaming Lips, Teenage Fanclub have yet to headline festivals and climb onto mega-stages. This total lack of any dizzying rise to global stardom has had a profound effect on their music – it has remained almost unchanged.
Teenage Fanclub have resolutely refused to reinvent themselves. No “difficult third album” here. Their music may have shown a slow slide into easy middle-paced tunes but as track after track shuffles past you can feel your cares drop away.
That’s not to say they don’t still like to turn things up a bit, but in general Man Made is an album to relax to. Perhaps you might be inclined to read all this as something less than a glowing recommendation, you couldn’t be further from the truth. Younger, more aggressively ambitious bands, could never produce an album that is as self assured as this, confident to be just what it is. Man Made is beautiful, just as it is.

Tift Merritt - Tambourine
Lost Highway B0002528-01 Reviewed by RP
Tambourine is a varied album, assured but in search of an identity. It has a feeling of “work in progress” about it. However, without doubt Tift Merritt is a versatile and exceptionally talented performer. Qualities that are borne out in the level of ambition shown in the opening three tracks – songs where she comfortably dons country rags to reminisce and then beat herself up over a man in ‘Stray Paper’; picks a rocking tempo for ‘Wait It Out’ and, believe it or not, gives a more than passable imitation of a big hearted soul singer with ‘Good Hearted Man’ and again later on in ‘Plainest Thing’.
Soul may yet prove to be her strongest card. The passion, drive and enthusiasm for song craft are present for all to hear. It extends way beyond the displays of vocal dexterity to embrace some fine piano playing and solid song writing. Merritt is not quite the finished article, nor does she possess the most powerful voice or richest of tones but her carefully written / chosen music does maximise a sweet, clean and precise singing style. The strongly sympathetic instrumental work and those Gary Louris and Maria Mckee harmonies reinforce a refreshing approach by an unencumbered and evolving talent.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Laurindo Almeida & Charlie Byrd - Tango
Groove Note GRV1021-3 Reviewed by DD
Byrd, by the time of this 1985 session, had long ago carved himself a permanent niche in jazz history as a prime interpreter (along with Getz), of samba in the jazz idiom. A very talented guitarist but no match for true jazz greats like Pass, he had been very much the right man in the right place.
Conversely, Almeida a Brazilian guitarist had based his career on both traditional Brazilian music, more authentically aligning it with jazz in delivering what was arguably the first authentic fusion of the two forms in 1953’s Brazilliance, Vol 1.
Here the two merge forces, along with understated accompaniment from Joe Byrd (bass), and Chuck Redd (drums) to take on the tango, a musical form (easily ridiculed I know), but already 40 years old by the time it first reached the States. The quality of playing here quickly dispels humorous connotations, the guitarist’s styles setting each other off superbly, Almeida’s classical flavour working well against Byrd’s blues and jazz influences. Just listen to the quite superb interplay in ‘The Moon Was Yellow’. Even truly cheesy fare such as ‘Hernando’s Hideaway’ takes on a new life here.
So, is it jazz? Nope, it’s just a fine interpretation of tango superbly played and very well recorded that if you don’t take it too seriously is set to deliver years of listening pleasure. Recommended.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Sonny Rollins and Coleman Hawkins - Sonny Meets Hawk!
Classic Records/RCA LSP-2712 Reviewed by DD
Neither musician really needs an introduction. They are both giants of jazz sax, Rollin’s at the time of this recording already known as the boss of modern tenor, and Hawkins as the father of jazz sax playing.
This album marks their first collaboration. Of course each individual’s greatness in no guarantee of a result when they play together but fortunately any such concerns are immediately banished on hearing the first few notes of this set. Each musician has retained their own (highly) distinctive character whilst demonstrating a deep sympathy for and understanding of the other’s playing. That they do this without compromise, neither musician playing safe, is doubly remarkable. The album is jam-packed with strong tracks from the fast-paced opener ‘Yesterdays’ through the more lyrical extended workout ‘All The Things You Are’. It’s a uniformly powerful set, but if I had to pick a favourite I’d go for the (almost) nine minute take on ‘Lover Man’, the first chorus divided into eight-bar sections with Hawkins opening then trading evenly between the two, Hawkins gentler tone superbly offsetting Rollins harder edged attack. It finally closes with a superb finish from the pair, Rollins at the very top of his register, and Hawkins subtly carrying the melody beneath him. For once, this 200g issue eclipses the (very fine) earlier 180g release, sounding even more full-bodied, dynamic and just plain engaging.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Machito – Kenya: Afro Cuban Jazz
Pure Pleasure/ Roulette SR-52006 Reviewed by DD
The original innovator in blending Latin music with jazz, Machito arrived in New York in 1937 and by 1940 had formed his own band. From this would emerge Tito Puente to carry the torch to later generations, but Machito’s music also formed a major influence on the likes of Stan Kenton and Dizzy Gillespie. Names as big as Cannonball Adderley, Charlie Parker and Herbie Mann also played or recorded with Machito at various times.
This album is possibly his very best with a big band featuring the likes of Joe Newman, Doc Cheatham and Cannonball Adderley.
Unsurprisingly the set is percussion and brass driven most numbers being taken at a frenetic pace although ‘Cannonology’ written by A.K. Salim specifically to showcase Cannonball’s sax gives him free reign to express himself which he does with élan, adding welcome warmth to proceedings along the way. The strongest track here and ironically the only number not written specifically for the album is ‘Tin Tin Dao’ which was composed by Chano Pozo for Dizzy Gillespie. This features some fine trumpet work from Doc Cheatham.
The recording is dynamic and punchy if a little strident and lacking in weight. This however is easily offset by the power of the music making this a ground breaking and enjoyable album.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Rosa Passos and Ron Carter - Entre Amigos
Chesky SACD291 Reviewed by DD
With a track record that includes playing bass for Miles Davis, Wes Montgomery, Cannonball Adderley, Sonny Rollins, Eric Dolphy and Herbie Hancock, Ron Carter hardly needs any introduction. Rosa Passos, whilst a little less well known, does have a fine voice well suited to this collection of Brazilian music. A fine job they make of it too, Carter’s bass playing is sensitive and melodic (a listen to his short solo in ‘Insensatez’ is enough to convince you that the years have robbed none of his powers), the band’s tight and Rosa’s vocals just right. It almost goes without saying that this is another very good recording from Chesky, displaying a very natural warmth and presence. The only thing that troubles me about the enterprise is that here is yet another bossa nova album from an audiophile label. And whilst this is a very good example of its type, I am beginning to wonder how much more bossa nova the market can stand? Don’t misunderstand me, I love the music and have many of the ‘originals’. The problem is that I also have an increasing pile of re-interpretations which, lovely as they individually are, with the exception of sound quality, rarely step above the musical quality of those originals.
This is amongst the best of the modern breed, but please, no more bossa unless it brings something genuinely new and exciting to the mix.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Stan Getz - Spring Is Here
Groove Note GRV1020-3 Reviewed by DD
This is the sister album to Getz’ acclaimed live set The Dolphin and was recorded in May 1981 at Keystone Corner, San Francisco. It is also the equal of that famous album and Getz is joined here by the same band. The opening number ‘How About You’ has it all – great playing from Getz, a fine bass solo, driving percussion and outstanding piano. The band are clearly on splendid form and it shows throughout the set, whether in delicate numbers like a gorgeous take on ‘You’re Blasé’ with Getz’s tenor at it’s breathy best, wringing every last drop of emotion from the tune, or in faster paced pieces like the opening tune.
Standouts include a delicate reading of Kern and Mercer’s ‘I’m Old Fashioned’ featuring a languid and very lengthy introduction from Levy, and the title track which closes the set, leaving you wanting more. Getz is in expansive mode throughout, the shortest number here clocks in at over five minutes, and this brings the best from him as he delivers his lengthy, well-argued and very expressive solos.
The sound quality whilst not up there with the very best (the bass is a little ill-defined and soft), is good, warm and spacious with a real sense of the venue and it requires very little effort to place yourself in a prime seat amongst the audience for this outstanding session.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Ben Webster - At The Renaissance
Analogue Productions/Contemporary S7646 Reviewed by DD
Of course this live album has already been well served by Analogue Productions in their original 180g pressing. My copy of this still sounds mighty fine so naturally it provided the perfect opportunity to determine whether the luxury double 45rpm version justified the significant additional expense.
Taking my favourite number of the set, ‘Georgia On My Mind’, the original album serves Mitchell’s opening percussion work well, and Webster’s characteristically breathy entry sounds entirely natural and expressive. This is such an enjoyable number that it was a real wrench to lift the stylus at the end of this track rather than continuing through the whole set. Moving to the 45rpm version immediately blew away any regrets. It was a revelation. The cymbal work that opens the number is less bright and several degrees more real, the drums are even more dynamic, the piano more full bodied. The bass – not best presented in the original recording – is much clearer in the mix with more weight. Staging has gained both in height and depth and Webster is even more tangibly live, every nuance of his playing clearly conveyed.
With the exception of the inherent flaws in the master tape principally in the track ‘Stardust’ that Analogue Productions correctly point out, this is a near flawless re-creation of an excellent live set. Worth the extra money? No question!
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

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