| | Mambo Jambo: The Early Masters Of Afro-Cuban Jazz CD
(2-CD Set) 1954 was the year when the Afro-Cuban sound dubbed the Mambo crossed over into the mainstream and predictably brought with it a wave of commercial novelty hits like Rosemary Clooney's "Mambo Italiano," Bill Haley's "Mambo Rock" and Perry Como' Mambo Jambo: The Early Masters Of Afro-Cuban Jazz Music Mambo Jambo: The Early Masters Of Afro-Cuban Jazz Review
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Never one to tread the expected path, Lucinda Williams followed her big breakthrough album, CAR WHEELS ON A GRAVEL ROAD, with a pair of low-key records full of sad, quiet, fragile songs (interrupted by the occasional barn-burner). LIVE @ THE FILLMORE concentrates heavily on those latter two releases, unleashing all the intense, burning emotions that lay at their core, making plain the inherent frisson lurking below the surface of such ostensibly laconic tunes as "Lonely Girls" and "Righteously." Meanwhile, songs that already had plenty of bite in their studio versions are pumped up to an even more electrifying, visceral level (a bold, crunching ...
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After plugging in at the Newport Folk Festival in 1965, Bob Dylan's break with the folk scene was complete. The ensuing sonic assault caused pandemonium among the crowd, including an apoplectic Pete Seeger, and ruptured Dylan's standing among many of his longtime fans. This collection of Dylan's performances at the festival, taken over three years and filled with plenty of never-before-seen footage, charts his rapid evolution as an artist. Beginning in 1963, THE OTHER SIDE OF THE MIRROR captures Dylan playing the folk and protest songs that endeared him to so many of his generation--including "Only A Pawn In Their Game," "Chimes of Freedom," and "It Ain't Me, Babe" (with Joan Baez)--before he turned toward a more abstract songwriting style, coupled with a forceful rock 'n' roll sound, that climaxed in a frenetic, electrified performance of "Maggie's Farm," and "Like a Rolling Stone" in 1965.
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Criss Cross is famous as one of the top European bop-oriented labels, so this particular release was a real departure. The music uses electronics a bit; the playing is open to the influences of the avant-garde and funk, and the instrumentation is a bit different: Seamus Blake and Chris Cheek on tenors, Jesse Murphy on electric bass and both Jorge Rossy and Dan Reiser on drums. With the exception of an eccentric version of "Sing, Sing, Sing," all of the tunes are originals by either Blake or Cheek, including such titles as "Hick As Heck," "Final Sauna" and "To Be Ornette to Be." An intriguing, if not essential set. ~ Scott Yanow
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Duet albums featuring an accordion and an organ are rather rare, but this collaboration by Richard Galliano and Eddy Louiss is consistently ...
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The casual listener might be forgiven for hearing Sakesho's second album as Caribbean-inflected lite jazz. There's certainly never an unpleasant (or even aurally challenging) moment on these nine tracks, and the instrumentation is about as straight-ahead as you can get and still include steel pans: drummer Jean-Philippe Fanfant, bassist Michel Alibo and pianist Mario Canonge support leader Andy Narell's virtuosic pan playing with wit, grace and elegance. But those familiar with the more esoteric dance music traditions of the Caribbean will hear much more. The foundation of Sakesho's music is biguine, the intensely syncopated and polyrhythmic music of Martinique. Canonge and Alibo are both natives of Martinique, and their effortless grasp of this highly difficult music is part of what makes the songs on We Want You to Say sound so deceptively light and simple. ...
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