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unavailable for years, this album now appears for the first time on CD - it's a super-session w. Sammy Rimington on clarinet & alto, as well as the regulars inc. Big Bill Bissonnette, Bill Sinclair, Dick Griffith & others Red Wing Review
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Clarinetist/educator Dr. Michael White doggedly insists on the fresh creative potential of the very earliest jazz, and on this record he makes the case eloquently. Playing standards, crafty originals, and public domain spirituals, White emphasizes the polyglot nature of the New Orleans jazz heritage. The Spanish tinge of "Martinique" and "Calypso Girl," the gospel strains of "In the Beautiful Garden of Prayer," the good-time swing of "Fidgety Feet": White's fluttering, soulful clarinet directs it all, and his group responds with spirited, back-to-basics improvisation. (Thais Clark's bawdy vocal on "Horn Man Blues" is priceless.) One can hear echoes of White's old-but-new concept on more modern ...
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Recorded between 1936 and 1992. Includes liner notes by Sarah Lilley.
All tracks have been digitally remastered.
Feat.Lena Horne,Frank Sinatra, Sarah Vaughan,Benny Goodman
Personnel: Louis Armstrong (vocals, trumpet); Ella Fitzgerald, Frank Sinatra, Helen Ward, Lena Horne, Ray Eberle, Billie Holiday, Billy Eckstine, Sarah Vaughan (vocals); Coleman Hawkins (tenor saxophone).
Recording information: Hollywood, ...
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Track Listing of songs: ; ; ; ; ; ; ; ; ; ; ; ; ; ; ;
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There's no evidence here that political beatification has mellowed Bob Geldof. If anything, his message has grown more apocalyptic, even as his music broadens to a degree unprecedented in his own catalog. The title gives a pretty clear picture of what this is all about. Whether viciously dismembering some withered media icon on "One for Me" or desiccating a relationship addiction that borders on necrophilia in "Pale White Girls," Geldof maintains the highest pop standards of lyrical expression and musical setting. A punk energy, broken down at times to techno/tribal components or filtered through shimmering electronica, permeates each performance. The rhythm track to "Scream in Vain" deserves special mention, with its segues from a pumping house-style synth bass drum through various atmospheric moments and, for a moment, some Clash-like fist pumping. Geldof refers to other works -- a Dylan paraphrase, a sampled fragment from "Get Off of My Cloud" -- not to distract from any weaknesses in his vision, but to fit into its strengths. All this finesse serves a righteous, primal anger. Dramatic contrasts in dynamics, and a vocal that veers from beatnik poetry to a searing shout that somehow recalls both Prince and John Lennon, convey a bleak picture in "Mudslide," built on a metaphor of bugs being burned in an electric trap. This song, like everything else on this album, is about rage and resistance against those who succumb too easily to life's suffocations. Perhaps the essence of the album lies in the almost incoherent fury ...
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