On this page
Music Reviews from Issue 48

Whilst we offer contact numbers and links to our suppliers websites for your convenience hi-fi+ does not support or endorse any of the businesses involved.
Back to hi-fi+ welcome page | Back to Last Page | This issues contents
Next pop / jazz Reviews | Next classical / Audiophile Review | Music Review Index

Search the Music Review Database

The Raconteurs - Broken Boy Soldiers
XL Recordings XLCD196 Reviewed by MC
So, you front a high profile band with at least one all time classic album, and you’ve got a bit of time on your hands; what do you do? If you’re Jack White, you get together a few friends, all of whom play in their own, perfectly decent bands, and form a super-group. So do the Raconteurs exceed the sum of their parts? Or do they sound like the plaything of a restless megalomaniac? This album blends the talents of the band perfectly, reigning in Jack’s freeform style, matching it to Brendan Benson’s altcountry vocals and binding it together with a bit of garage rock. Considering Jack White’s other project is totally devoid of a rhythm section, The Raconteurs use theirs with unerring skill, heavily deadened drums and warm bass lines providing a good spine for the music. Whilst the White Stripes’ roots are firmly planted in the dark ages of guitar music, the Raconteurs sound is laced with heady psychedelic overtones. Gentle keyboards and dual vocals give the record a deeply retro sound, and the rough and ready recording and production keep the album feeling gritty. You already know what this record should sound like, a heady mix of White Stripes back-to-basics with the hard edge of a garage band, punchy songs, fuzzed up guitars and songs that twist like a bag of eels. Broken Boy Soldiers delivers on all its promises.

Tab Benoit - Brother To The Blues
Telarc Records CD83639 Reviewed by AH
Oh my God, this one’s really going to upset the purists! Benoit’s going to be accused of deserting his roots and selling his soul to country, which of course is absolute nonsense. Yes there are a couple here that are country songs, almost in its purest form, but there’s still plenty of great blues too.
Since the release of his superb debut Nice And Warm ( if you don’t own it track it down immediately ) Tab’s been carving a name for himself as a player with great touch, feel and technique… a true master of the Telecaster.
His work with fellow axe god Jimmy Thackery helped cement his reputation as a rising star, albeit one who is always looking to push the boundaries, and on this recording he’s just taking it a little further than he normally does. The title track is classic country in the Hank Williams tradition containing a fine fiddle break courtesy of Waylon Thibodeaux, and ‘I Heard That Whistle Blow’ is another, this time beautifully augmented by a sensitive guitar solo.
There’s thumping R’n’B, soul (a great version of ‘Bring It On Home To Me’) and stinging blues guitar aplenty on ‘Pack It Up’ and the driving ‘Why Are People Like That?’ Great music is great music, however it comes to us, and this is one of Tab’s very best.

Gram Parsons - The Complete Reprise Sessions
Reprise/Rhino R2 74669 Reviewed by PD
This is foundational stuff if there ever was any; the two Parsons solo albums re-issued here are records that launched a thousand ships. These recordings commenced a reconciliation of rock and roll with country and western that did not sacrifice the authenticity of either form, that it is sustained to this day in the work of artists like Lucinda Williams, Steve Earle and many more.
Revisiting GP and Grievous Angel from 1972 and 1973 respectively, one is struck by just how soaked in country Parsons was. This music is served absolutely straight up, from the first-tier Nashville session players to the traditional use of male choruses. Parsons also added significantly to his songwriting credentials here. Songs like ‘Return of the Grievous Angel’ and ‘How Much I Lied’ deserve a place among the great country records. A third disc of alternative takes makes a pleasant addition to the set. Overall sound is just fine and the packaging here is marvelous, right down to miniature cardboard reproductions of the original album jackets. There are also magical extras, like lo-fi radio recordings of Parsons and the young Emmylou Harris on ‘Love Hurts’ and ‘Sin City’. For those wanting just a taste of Parsons, you can get the first
two albums as individual releases, but with music of this quality I would advise against being penny wise and pound foolish.

Será Una Noche - Será Una Noche
M · A Recordings M052A Reviewed by AKB
Tango means more than a mere dance; Tango, means the art of passion. Two dancers, male and female, subtly circling, approaching and departing, a kind of game, similar to love. Tango even means real life! When, during the Sixties the famous Tango orchestras vanished into thin air, that was the time for “conjuntos”, small ensembles like Será Una Noche. These six young musicians have wiped the dust from the melancholic melodies and created an irresistible recording. Never before have I heard this bittersweet atmosphere, musically so well interpreted! It is such a captivating album, a mixture between traditional instruments and Asian inspired sounds. Of course, you will find the bandoneon, “la voz del tango” (“the voice of tango“), but also a tabla and other percussion instruments. But despite the variety of instruments, there remains enough breathing space between for single words – and for the vocals of Pedro Aznar. Tango – it also means ambivalence, an aerial airiness despite earthly content! My favourite song is the classic from Carlos Gardel, “Soledad”, here introduced by a sonorous bass clarinet, evidence of the transience of love: “But there isn’t anybody, because she won’t come. Solely the illusion of my desires that, once it will decompose, will leave only ashes in my heart.” Can heartache sound more beautiful?

Irma Thomas - After The Rain
Rounder Records 2186-2 Reviewed by AH
Known as the `Soul Queen Of New Orleans', Irma Thomas has been releasing albums since the early sixties. She has gone on record as saying there is no such thing as soul music, a curious admission considering she is blessed with one of the finest soul voices to have ever come out of America.
For this latest album she enlisted the help of some of New Orleans' finest musicians, including slide master Sonny Landreth. She also brought in Scott Billington to produce, and he has done a magnificent job. The album has a very warm `vinyl' feel, and it sounds to these ears like they all had a great time making it and bonded as a band, because it certainly doesn't sound like a bunch of sterile sessioneers who only turned up for the pay cheque.
The material is perfect for Irma's rich and powerful voice; especially powerful when she turns up the wick on songs like the gospel fuelled 'If You Know How Much'.
It was feared that Irma had lost her life in Hurricane Katrina but she was in Texas at the time (I reckon it would take more than a storm to dent her style!). 'After The Rain' was recorded before the hurricane but could be seen as a tribute, such is its deepness.

Nouvelle Vague - Bande A’Part
Universal/Peacefrog PFG079 Reviewed by RG
Okay, so I’ll admit to a strange fascination with covers, especially covers that add to or even better, knock the originals into a cocked hat.
‘Satisfaction’; it has to be Devo. ‘These Boots…’ belong(s) to Paula Yates. ‘Suspicious Minds’? No one gets close to Gary Glitter and the Glitter Band.
I can see the shudders of horror from here, but no mercy; bring on Nouvelle Vague. Their first album could be dismissed as a curio or flash in the pan – if only it wasn’t for the sublime brilliance lurking in ‘Too Drunk to Fuck’; all Astrid meets the stylishly disengaged. Now Bande A’Part rams home the lesson with a vengeance. Acoustic salon jazz versions of ‘Ever Fallen In Love With’ and ‘The Killing Moon’ rub shoulders with a reggaed up ‘Heart Of Glass’ an improbable ‘Bela Lugosi’s Dead’ and an impossible ‘Blue Monday’. Running amok amongst the high points and gutter dregs of new wave electronica, Nouvelle Vague mine new seams of gold from the inner workings of these familiar fields. Here a change of tempo, there a shift in phrasing, all done with a fragile, effortless, sexy chic that brings new sense and new meaning. I can see rock dinosaurs rolling in their (artistic) graves at the very thought. I say, bring on the sacred cows. So many people will hate this for so many reasons – I love it.

The Weepies - Say I Am You
Nettwerk 5037703046627 Reviewed by AH
Deb Talan and Steve Tannen were respected artists in their own right who met at a club in Boston when Deb had gone to see Steve play a show in support of his debut release Big Senorita. He was already a big fan of her solo work and obviously she of his; the wheels of destiny were turning and that evening The Weepies were born. Say I Am You, The Weepies second album, is rammed to the rafters with glistening pop songs, the sort to stop you in your tracks and make you wait with breathy anticipation to find out who's singing them when they come wafting out of the radio. They're like a soft summer breeze on the skin, so welcoming when everything else you hear leaves you feeling cold and lifeless. These two voices really were created to be used in unison, in the same way they were for Simon And Garfunkel and the brothers Finn. The harmonies on display here swoop and soar and elevate the songs to a different hemisphere. On occasions I found myself waiting for a particularly jaw-dropping moment in a song, one of those moments where you listen with astonishment as a man’s and a woman's voice weave together so beautifully that it takes your breath away. It's a stunner. Seek it out.

Christine Collister - Love….
Rega ENS 002 Reviewed by DD
A true labour of love this album’s genesis stems all the way back to Gregson and Collister performing at a private concert back in the 1980’s in Roy Gandy’s (Rega’s owner) Essex house, the venue for this recording. Using a Pearl CC22 mike to capture Collister’s voice, a customised Studer A80 eight track, and a custom made mixing console nicknamed Thunderbird 3, this project really was a labour of love, with Roy giving over a large proportion of the ground floor of his (admittedly extensive) home to provide the ‘studio’.
The main point about Collister is of course that she has an absolutely gorgeous voice. Always a treat live, she has not always been well served by her releases since splitting with Clive Gregson back in 1992. Of course there have been exceptions, I particularly like 1996’s Blue Aconite with the great Richard Thompson repaying the compliment for the many times Collister has provided sterling backing for him.
2003’s Home gives a fair representation of the live experience but if you really want that lovely voice more nearly in the room with you, this is the one to go for. It’s a fact that is evident from the get go.
The album opens with her interpretation of Jim Croce’s ‘Time in a Bottle’ and it’s immediately clear that this is something special. Collister and her guitar are placed tangibly between, forward and centre of the speakers in a believable acoustic space within which are set the accompanying banjo, and cello. The real point is that it is the music that grabs you and keeps you engaged. This is an exceptionally natural, ‘real’ recording in the sense that you just aren’t aware of, or looking for, the hi-fi aspects – and that’s surely what it’s all about. Favourite tracks (so far – I’m sure I’ll be playing this album many times), include a heartfelt reading of Cohen’s ‘Hallelujah’, and a bold and very lovely acappella reading of Joni Mitchell’s ‘Amelia’. There is also a creditable version of Sandy Denny’s ‘Who Knows Where the Time Goes?’ that whilst it can never replace the original is a very worthy contender.
Cut by Ray Staff at Alchemy the pressing is exemplary and does full justice to this hugely enjoyable and very well recorded set.

Bob Dylan - Modern Times
Columbia 82876 87686 1 Reviewed by PD
Who would have thought that Bob Dylan would age so gracefully? And this is indeed an older man’s record. Modern Times is steeped in various forms of blues and light jazz, most of which first spun on a turntable at 78 rpm. Dylan adds subtle melodic strengths that are the sign of a master craftsman. Tracks like ‘Spirit on the Water’ and ‘When the Deal Goes Down’ are as sweetly sentimental as anything Willie Nelson or Louis Armstrong ever cut. Dylan is also an exemplary curmudgeon here, albeit one with a sparkle in his eye – his woman in ‘Rollin’ and Tumblin’’, causes him so much trouble that he “ain’t goin’ to touch another one for years”, and in ‘Thunder on the Mountain’ he has “sucked the milk out of a thousand cows”. There is also wise commentary that can only be born of years, be it political (Workingman’s Blues #2) or interpersonal (Nettie Moore). The sound on the Modern Times CD is quite good – warm, full and free of grit, with Dylan’s voice and important lead instruments artfully and naturally highlighted. The 180-gram vinyl pressing is all this and more (surprise) with a wider and deeper soundstage and greater realism, especially in the treatment of Dylan’s voice. No contest. This is one of those records that gets better every time you hear it. A great album.

Albert Lee - Road Runner
Sugarhill Records SUGCD4011 Reviewed by AH
As a guitarist Albert Lee has got absolutely nothing to prove to anyone. He is one of a select few English guitarists whose reputation amongst American musicians is so high that he could literally walk into any country rock band he wanted. His work on Emmylou’s Luxury Liner album reached dazzling proportions; the first time I heard the title track I remember thinking how sensational the picking was - clean and fast but so sweetly melodic.
That’s Albert; wherever he turns up he leaves his mark.
He’s not just a sideman though, Albert’s a mighty fine solo artist in his own right. This latest album is a great set of tight country rockers with plenty of those dizzy-inducing licks (‘I’m A Roadrunner’ and ‘Didn’t Start Livin’) mixed in with sensitive ballads like ‘Julie’s House’ and Jimmy Webb’s ‘The Moon Is A Harsh Mistress’. Lee’s voice is reminiscent of Rodney Crowell’s; easy-on-the-ear when he tones it down but capable of a certain raunchiness when the song calls for it.
Because of who he is he has no trouble attracting great musicians to work with him, and here he enlists the likes of Bekka Bramlett, Buddy Miller, Bob Glaub and Don Heffington to make sure proceedings go with the necessary swing. ‘Road Runner’ doesn’t break any new ground but it’s a solid piece of work from the consummate guitarist.

Douglas Niedt - Pure Magic
Niedt Records CD-100852 Reviewed by RP
The classically trained Kansas based guitarist, Douglas Niedt is a technically accomplished performer who for over forty minutes displays real emotional depth and no little sympathy throughout all fourteen of these engaging solo vignettes, which is quite an achievement when tackling such diverse material. The collection includes Duke Ellington’s ‘Dancers In Love’, an Argentine folk dance, ‘Misionera’ and a hard-edged African groove, ‘Mombasa’. When you add to that list a Welsh melody in ‘Hyfrydo’l, the French caricature ‘Tango En Skai’ and the radiantly classical arrangement of ‘El Noi De La Mere’ then it’s easy to appreciate the versatility of his playing. Sonically, this recording has exceptional clarity and range. It beautifully reproduces the Ramirez guitar’s resonant tonal colours and that percussive beat against the instrument’s body heard in an enjoyable opening Spanish romp by Jorge Morel, ‘Jugueteando’.
It accurately illuminates those rapid shifts and slides across the strings. His perfect pitch and exquisite phrasing help Niedt’s fluency, the delicate realisation of bittersweet moments and the broad exploration of a variety of moods. This is a surprisingly satisfying outing when considering the fragmented nature of the programme.
Supplier: www.douglasniedt.com

Bernard Fanning - Tea And Sympathy
Lost Highway DEW90172 Reviewed by AH
Tea And Sympathy has already gone five-times platinum in Fanning’s native Australia, a fitting tribute to the man’s wealth of talent. He’s rightly revered as lead singer of Australia’s premier rock band Powderfinger, but on this album, recorded in England at Peter Gabriel’s Real World studios, Fanning’s turned his attentions to a country rock sound more in keeping with Lost Highway stablemate Ryan Adams. Relocating to England to record and write has afforded Fanning’s skills a certain 70’s charm, but he’s whisked it all up and given it a truly modern feel. The results are magnificent.
Opener ’Thrill Is Gone’ fires itself into the imagination immediately on a wash of acoustic instruments, Fanning’s superb voice lifting the song to the greatest heights. It’s swiftly followed by ’Wish You Well’, a feel good anthem with a rousing chorus and chiming guitars. In fact, it doesn’t matter what track you choose, all 14 have a way of crashing into the subconscious and mesmerizing the senses. I love this album’s vibe; it doesn’t matter where, when or what time you listen to it, the rewards are always so great.
Powderfinger are a class rock band but in my opinion what Fanning has done on Tea And Sympathy is the direction he needs to keep heading in. He’s every bit as good as Adams and if he gets the breaks he’ll be a lot bigger.

Thelonius Monk - The Classic Quartet
Candid CCD 79551 Reviewed by DD
Monk’s original quartet first came into being at the time of his renowned 1959 town hall concert in New York. That quartet included Charlie Rouse (tenor) along with Sam Jones and Art Taylor. The combination worked so well that it was expanded to a quintet with the addition of Thad Jones in time for the recording of the Five by Five album. This version of his quartet dates from 1963 and still features Rouse, here joined by Butch Warren (bass), and Frankie Dunlop (drums).
The set comprises a familiar selection opening with a storming take on Monk and Clarke’s ‘Epistrophy’ – one of his earlier compositions (it was originally titled ‘Fly Right’), and pretty much his theme tune, frequently being used to either open or close a show. This is followed by the less familiar ‘Ba-Lue Bolivar Ba-Lues-Are’ (or just plain ‘Bolivar Blues’), named after the New York hotel where Monk once stayed. Things really come alive with ‘Evidence’. The standard ‘Just a Gigolo’ is given a poignant and tender reading by an unaccompanied Monk. The album closes with an extended version of ‘Blue Monk’ with another great workout from Rouse followed by a superb solo from Monk – sly and ingenious and the best in this set.
Whilst this is no hifi demonstration disk – the sound lacks weight – the music is what counts and this is a very worthwhile release.

EST - Tuesday Wonderland
ACT Records Reviewed by JK
Swedish trio EST has been gathering momentum and garnering favourable press all around the jazz world of late, I suspect this has as much to do with the band’s consistency and persistence as anything because the quality of the band’s output has not changed to any dramatic extent. What EST does extremely well is lay down a groove that while it has a strong jazz feel thanks to the combination of piano, double bass and drums, is probably closer to blues in its composition. Bandleader Esbjörn Svensson keeps things interesting by treating his piano both mechanically and with effects, so that at times it clatters and buzzes like some
demented hurdy gurdy. Dan Berglund’s bass is likewise remarkably versatile, delivering a good impersonation of an electric guitar under duress.
Tuesday Wonderland is if anything an improvement on last year’s Viaticum, the grooves chugging with an ease and drive that is infectious while the interplay between musicians is superb. Drum and piano in particular lock into one another to mesmeric effect on the title track. At times it can get a bit bombastic; the opener tries a little too hard to woo the rock audience but for the most part EST sticks to what it does best – fantastic rhythms and beautiful piano work..

Stanley Clarke - Standards
Kind of Blue KOB10010 Reviewed by DD
Stanley Clarke, despite a grounding in acoustic bass working alongside the likes of Dexter Gordon, Pharoah Sanders and Stan Getz, really came to prominence on electric bass. His playing was influenced by rock, Hendrix and McLaughlin in particular, although he always maintained a real feel for melody, moving to a more funk-oriented style as his career progressed. His collaborations with keyboardist George Duke were hugely successful.
Clarke has constantly evolved and changed direction during his career, working as a producer and even scoring film soundtracks, but more recently has gravitated back to contemporary jazz and this album of standards. Originally recorded in 2001 for the short-lived Vertical label the album has now been
remastered by Kind of Blue and two bonus tracks added, along with a bonus DVD of the recording sessions. Clarke is joined by Leon ‘Ngudu’ Chancler (drums), and Patrice Rushen (piano). It’s clear from the get go as the band launch into a sprightly reading of ‘Lover Man’ that these three are having a ball. Other treats in this high octane set include a lovely relaxed reading of ‘Take Five’ but really everything here is of such a consistently high standard that it’d be churlish to single more out.
Just make sure you get your bonus tracks – my early promo didn’t have them!

David Wilczewski - Room In The Clouds
Opus 3 CD22051 Reviewed by DD
This set really comes alive on track two ‘Wayne’s World’ (thankfully dedicated to Shorter and not Mike Myers), a slow building circular theme showcasing the virtuoso guitar of Max Schultz alongside Wilczewski’s tenor as it works through a host of variations slowly gaining in intensity to really powerful effect. The title track, an interpretation of ‘Munen-Musou’ meaning free of worldly thoughts in the original Japanese, sees Wilczewski move to alto and Magnus Persson adding vibes to the mix to enhance the spacey atmosphere and help bring the best from this ethereal theme. ‘Elvin Jones’ naturally has a solid, driving beat with the tune initially taken by Wilczewski on flute before moving to tenor.
The tune is based on an old Elvis Jones/Grant Green number ‘I Want To Hold Your Hand’. Another really strong number is ‘Fun For Kofi’, dedicated bass player Kofi Bentsi-Enchill. It’s full of texture opening with the bass doubling Wilczewski’s electronically treated tenor to great effect.
The standard of playing, the variety of texture and the just slightly cool tone throughout the album make for an intriguing listen that I’m sure will reveal more on each playing. Complemented by an appropriately full bodied and spacious production from Opus 3 this is well worth seeking out.

Eddie Henderson Project - Precious Moment
Kind of Blue KOB 10008 Reviewed by DD
Initially encouraged to get involved in jazz by Miles Davis, Henderson (trumpet and flugelhorn), first came to prominence in the 1970’s as a member of Herbie Hancock’s sextet (along with Billy Hart). He has since worked with Art Blakey, Joe Henderson, Pharoah Sanders and many other jazz greats alongside carving a strong reputation as a headliner with fine albums such as Inspiration, Dark Shadows and Think On Me.
This album sees him in good form leading a quartet comprising Kevin Hays (piano and synthesiser), Ed Howard (bass) and drummer Billy Hart.
Originally the album was going to be called ‘Around the World in A’ since the majority of the tunes were in A, but ultimately Henderson plumped for the title of another tune composed by his wife Natsuko, ‘Precious Moment’. A good choice since it neatly sums the experience of listening to Henderson’s rich, liquid tone throughout this gentle set. Favourites include a relaxed work through the standard ‘Unforgettable’ with Hays shining throughout, and an excellent version of Bill Evan’s ‘Blue in Green’. Whilst it’ll never win any awards for innovation, this is an honest and superbly played set that truly is packed with precious moments. The warm, full-bodied recording does it full justice too.

The Phil Woods Quintet - American Songbook
Kind of Blue 10005 Reviewed by DD
This set features alto saxophonist Phil Woods alongside his long-time collaborators Bill Goodwin (drums), and Steve Gilmore (bass). The three have been playing together for over 30 years. They are joined here by trumpeter Brian Lynch and pianist Bill Charlap. To quote Woods: “..coming back to the great American songbook. I’ve been training for it all my life. Many of my other albums have focused on obscure pieces by Duke Ellington and Oliver Nelson... But I’ve never before done a recording just of songs in settings like these.” Well it’s certainly paid a musical dividend because this is a refreshing, straight ahead take from a band that demonstrates its musical chops with every note. There’s plenty of superb interplay but also the necessary space to let each soloist shine. Just listen to the nine plus minute take on Kern’s ‘All The Things You Are’ for an excellent example. It doesn’t seem a second too long yet there’s room for some superb soloing from (in sequence) Woods, Lynch, Charlap (particularly good here), and Gilmore. Other standouts include a lively reading of Porter’s ‘I’ve Got You Under My Skin’, a slinky, bluesy take on Arlen’s ‘When The Sun Comes Out’. This is a remarkably cohesive set. Subtle stuff, superbly arranged, expertly played and well recorded. What’s not to like?

The Django Reinhardt Festival - Live At Birdland – Gypsy Swing!
Kind of Blue 10001 Reviewed by DD
Recorded live at New York’s legendary Birdland – during the 2002 Reinhardt Festival a hugely popular event since its inception in 2000: That popularity is evident from the first frantically paced notes of ‘Swing Gitan’. If you can keep your feet still throughout this you’d better check your footwear since you must be wearing diver’s boots.
The 15 musicians comprise a mix of European and American exponents of this wonderful music. The American contingent includes the likes of Grady Tate (drums) and Jay Leonhardt (bass). The Europeans fielded a team including Dorado Schmidt (lead guitar), Serge Camps (rhythm guitar), and Ludovic Beier (accordion). Mostly the music steams ahead with the band powering through the likes of ‘Minor Swing’, ‘I Can’t Give You Anything But Love’ and ‘Stompin’ at Decca’ although there’s the occasional breather such as the delicate take on ‘New York in November’ and a lovely reading of ‘Melodie au Crepuscule’ with some fine sax from James Carter.
The album closes with a bonus track from the first concert in 2000 that features Django’s son Babik along with a quartet performing ‘Pretext’. This is a CD brimming with the pleasure of music making and successfully delivers an hour or so of sheer foot tapping delight.

Keith Jarrett - The Carnegie Hall Concert
ECM Reviewed by JK
The hottest jazz ticket of 2005 was Keith Jarrett’s return to solo performing after a ten year sojourn; he played at New York’s Carnegie Hall in September and blew the lucky buggers away. This two-disc set captures the event’s ten parts and five encores in a recording that sets the benchmark for CD sound.
ECM has so far stayed away from the high resolution formats despite its long term reputation for sound quality, but if it can achieve this with 16/44.1 why bother.
Disc one contains the first five parts and opens in surprisingly challenging style with a pretty discordant piece designed, perhaps, to test the audience. This style recurs throughout the album but with varying levels of success. Part IV, for instance, develops as it progresses and flirts with melody and pattern before reverting to player piano-esque flourishes of technical skill, yet somehow works.
For those who prefer a more obvious musical path Parts II and III fit the bill as do the majority on disc two. There is even a glimpse into the player’s soul on III, something that appears fleetingly on Jarrett’s best works. The difference here is that there are none of the meanderings of yore, once an idea is played out he stops, but sometimes you wish he didn’t. This should be scored between 7 and 10 for music but that’s not an option so 8 is an average.

Count Basie And The Kansas City 7
Speakers Corner RecordsReviewed by DDD
Shortly after Bob Thiele took over from Creed Taylor as Impulse! Records’ producer in 1961 he issued several classic albums from artists spanning several generations. While Impulse! is often called The House That Trane Built (also the name of a recent book about the label’s history by Ashley Kahn) and is best known for new jazz, the label also released some great sessions from the Ellington and Basie bands. This is a reissue of AS-15, and is a remarkable album of small band music. I take issue with the Penguin Guide’s overly cute and dismissive assessment of this record - it’s a superior Basie album and I never tire of hearing it. While its hard to find a Basie album that does not swing, this one is even better than most, perhaps because Basie is propelling a small group rather than his usual big band. Thad Jones is outstanding on trumpet; Frank Wess equally so on flute and the rhythm section of the Count, Freddie Green, Eddie Jones and Sonny Payne are spot on.
The session was recorded by Rudy Van Gelder in his Englewood Cliffs studio in 1962, and it’s among the finest sounding Impulse! albums. There are no weak spots in the ultra transparent recording, with each instrument’s timbre accurately represented, a good bass foundation and a pleasing stereo layout.

© Images and text copyright Absolute Multimedia (UK) Ltd 1999-2008
another fine webwork by Global WebTrader