| | Claude Bolling Plays Brassens, Bechet, Vian, Becaud CD Claude Bolling Discography of CDs
"There was a time when French popular music was represented by Georges Brassens, Boris Vian and Gilbert B‚caud. The encounter between the variety repertory and jazz was quite natural and legitimate. Claude Bolling - in the same way as Fats Waller to Amer Plays Brassens, Bechet, Vian, Becaud Music Plays Brassens, Bechet, Vian, Becaud Review
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| | Best Of Hank Crawford & Jimmy Mcgriff CD (2001)
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Hank Crawford and Jimmy McGriff didn't co-lead a studio date until 1986, when Bob Porter (one of the top producers in the soul-jazz field) produced their Soul Survivors album for Milestone. But alto saxman Crawford and organist McGriff should have recorded together long before that because they have so much in common. Both are soul-jazz/hard bop heavyweights, and both thrive on jazz that is funky, earthy, blues-drenched, and quite accessible; as a rule, blues and R&B lovers who don't care for the more abstract, cerebral styles of jazz have no problem getting into Crawford or McGriff. And they will have no problem getting into this fine collection, which offers a 75-minute sample of material that the veteran improvisers recorded as co-leaders from 1986-1998. Everything on The Best of Hank Crawford and Jimmy McGriff was produced by Porter, who has produced countless soul-jazz sessions over the years. So not surprisingly, this 2001 release is full of state-of-the-art soul-jazz. Crawford and McGriff enjoy a strong rapport whether they are getting into hard-swinging up-tempo fare on "One Mint Julep" (a major hit for Ray Charles in 1961) and Lester Young's "Jumpin' With Symphony Sid" or lyrical ballad playing on "Second Time Around" and "Because of You." None of the material is groundbreaking; in the '80s and '90s, Crawford and McGriff excelled by sticking with the type of ...
| | Legends Public Radio CDs (2005)
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Initial 1000 pressings include an exclusive bonus disc full of remixes and B-sides.
The Legends sophomore set effectively abandoned the raucously upbeat, '60s-influenced noise-pop of their surprise indie hit debut, proffering instead a tastefully moody if rather antiseptic evocation of 1980s British post-punk. Joy Division, New Order, Felt and The Cure are among the all-too-obvious reference points -- a fashionable list in 2006, certainly, which makes the album feel like an artifact of its time instead of a canny throwback -- but Public Radio pointedly lacks any of spark and personality of those bands. Indeed, it seems as if Johan Angergård (not so much the band's frontman as its only member, at least on record, as the impersonally succinct liner notes make clear) was determined to hone in on the fundamental elements common to the sound of those and similar groups, and distill them into a pitch-perfect archetype of their era without any overtly distinguishing characteristics. (Titling one of the songs "I Want To Be Like Everybody Else" is a pretty decent indication, and also suggests he's not doing it without a bit of a smirk.) If that was his goal, he's succeeded admirably here: from the bleak, stripped-down machine drum pulse that opens "Today," Public Radio is lavishly laid out, almost wall-to-wall, with atmospheric synth washes, pensive muted guitar leads, and wispy introverted vocals (wanting only for the pained gloominess of a Curtis or Smith), all of it practically buried under layers of reverb. Shades of the indie pop sunniness so intrinsic to Angergård's other projects do leak through here and there, in the tuneful multi-tracked chorus hook of "People Like Us," the lush, strummy ...
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