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Williams, Clarence - QRS Recordings, Vol. 2 CD Cover Art
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Clarence Williams QRS Recordings, Vol. 2 CD

 Clarence Williams Discography of CDs

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 Our Price: $15.95  CD
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27 track compilation of songs from 1928-29 features Clarence William's orchestra with Katherine Henderson, Sara Martin, Laura Bryant, and the Barrel House Five. Includes "Do It Baby," "Mushy Love," "If You Like Me," "Hole In The Wall," "Mean Tight Mama,"

Contains 27 tracks.

Personnel includes: Clarence Williams (piano); Katherine Henderson, Sara Martin, Laura Bryant, The Barrel House Five.
QRS Recordings, Vol. 2 Music


Detailed QRS Recordings, Vol. 2 Music Information



List Price $19.97 (You save $4.02)
Category Rock/Pop Albums, Jazz Instrument CDs, Big Band, Jazz Traditional, Piano, Jazz
Label Frog
Orig Year 2003
All Time Sales Rank   238000  
CD Universe Part number 6625758
Discs 1
Release Date Dec 16, 2003
Studio/Live Studio
Mono/Stereo Stereo
Personnel Clarence Williams - piano
Katherine Henderson
Sara Martin
Laura Bryant
Clarence Williams QRS Recordings, Vol. 2 Songs


Clarence Williams QRS Recordings, Vol. 2 Album Track Listing



1.Do It Baby
2.Mushy Love
3.If You Like Me
4.Hole in the Wall
5.Mean Tight Mama
6.Hot Lovin'
7.Dentist Chair Blues
QRS Recordings, Vol. 2 Review


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Recorded in 1996, this last recording from San Francisco's Steel Pole Bath Tub was deemed "unlistenable" by the major label they had recorded it for at the time. The label called it "a soundtrack to nothing." How a band like Steel Pole Bath Tub ever ended up on a major label is a mystery. It was part of the insanity of the mid-'90s that bands like Steel Pole Bath Tub and the Melvins could ever have caused major-label execs to see dollar signs. Few of the noisier bands to get signed lasted more than a year or two on major labels and many, like Steel Pole Bath Tub, broke up immediately afterwards. On the other hand, a "soundtrack to nothing" isn't such a bad description of this album. The vocals are mostly buried behind repetitive music and many of the songs sound more like bits and pieces or soundtrack outtakes than a real album. Certainly, it was ridiculous to think a major label would release a record that doesn't even really rock and is ...
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Mention Steve Howe's name to most people, and they immediately think of his work with the British progressive rock powerhouse Yes. But there is more to Howe than progressive rock; outside of Yes, the guitarist has also embraced Spanish flamenco, ragtime, and many other things. Howe is versatile and eclectic, and on Masterpiece Guitars, he demonstrates that Bill Bruford isn't the only Yes member (past or present) who is capable of playing jazz. Howe co-leads this session with fellow guitarist Martin Taylor, who is primarily a jazz musician -- and the results are a long way from Howe's work with Yes. You won't hear "Close to the Edge," "Long Distance Runaround," "The Gates of Delirium," or "Starship Trooper" on this album. What you will hear is a lot of bop -- very straight-ahead, swinging, acoustic-oriented bop -- and the two guitarists enjoy a strong rapport on original material as well as inspired performances of Charlie Chaplin's "Smile," Jerome Kern's "All the Things You Are," and Lerner & Loewe's "Thank Heaven for Little Girls." On a few occasions, Masterpiece Guitars strays from jazz; Howe's "Tailpiece," for example, is perhaps best described as progressive bluegrass. It certainly has that down-home country twang. But if Masterpiece Guitars offers a few side dishes that aren't jazz, it's safe to say that straight-ahead jazz is the main course. Straight-ahead jazz is Taylor's strong point -- that's what he does best, and on Masterpiece Guitars, jazz also works enjoyably well for the broad-minded Steve Howe. ~ Alex Henderson Jazz guitarist Martin Taylor and rock guitarist Steve Howe would seem an unlikely pair to make a CD together, but they had an opportunity, thanks to the generosity of a fan with a wide-ranging collection of vintage collectable guitars. In 1996, the two guitarists gathered over the course of several sessions and chose various instruments, often using ...
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