HERBIE HANCOCK - FLOOD
Herbie
Hancock and the Headhunters take to the road in the live double album Flood,
recorded and released only in Japan. Contrary to the impression left by his
American releases at this time, Hancock was still very much attached to the
acoustic piano, as his erudite opening workout on "Maiden Voyage/Actual
Proof" with his funk rhythm section makes clear. The electric keyboards,
mostly Rhodes piano and clavinet, make their first appearances on side two,
where Hancock now becomes more of a funky adjunct to the rhythm section,
bumping along with a superb feeling for the groove while Bennie Maupin takes
the high road above on a panoply of winds. Except for "Voyage," the
tunes come from the Head Hunters, Thrust, and Man-Child albums (another reason
why this was not released in the U.S.). "Chameleon" comes with a
lengthy outbreak of machine pink noise that attests to Hancock's wide-eyed love
of gadgetry. In all, this was a great funk band, not all that danceable because
of the rapid complexities of Mike Clark's drumming, and quite often, full of
harmonic depth and adventure. ~ Richard S. Ginell. ~ CD Universe
NAT KING COLE - AFTER MIDNIGHT
Digitally
remastered using 20-bit technology by Ron McMaster. The AFTER MIDNIGHT sessions
were Nat "King" Cole's attempt in 1956 to get a little more in touch
with his jazz roots, once again accompanying himself on piano--at one time Cole
was considered the heir to Teddy Wilson--and playing with a small combo that
included Harry "Sweets" Edison on trumpet, Juan Tizol on trombone,
and Ray Nance on violin. As such it was a highly succesful date for Cole and
Co. and it stands up more than 50 years later. This was no mere jam session but
a chance to hear Cole vocalizing in a non-orchestral setting, just like his
early trio but this time singing full-fledged standards like "What Is
There To Say?" and the beautifully rendered "You're Looking At
Me," not just the familiar Cole trio novelties. THE COMPLETE AFTER MIDNIGHT
SESSIONS gathers the 21 master takes that were recorded at the time, three more
than the previous "complete" edition on Capitol. LP VINYL EDITION 180
GRAM, DIRECT METAL MASTERING, 2 BONUS TRACK, ALL MUSIC GUIDE. Recorded at
Capitol Studios, Los Angeles, California between August 15 & September 24,
1956. Includes liner notes by Ralph J. Gleason and Michael Cuscuna. Reissue
producer: Michael Cuscuna. Personnel: Nat "King" Cole (vocals,
piano); Willie Smith (alto saxophone); Harry "Sweets" Edison (trumpet);
Juan Tizol (valve trombone); Stuff Smith (violin); John Collins (guitar);
Charlie Harris (bass); Lee Young (drums); Jack Costanzo (congas, bongos).
Producer: Lee Gillette. JazzTimes (3/97, p. 99) - "... this is classy
music for mellow hours, before or after midnight." ~ CD Universe
IMELDA MAY - TRIBAL
Imelda
May's fourth studio album, 2014's Tribal, finds the Irish chanteuse balancing
an '80s-influenced new wave rockabilly energy with a few of old-school '50s
ballads and a bit of country twang. Produced by Mike Crossey, who previously
helmed projects by Arctic Monkeys, Jake Bugg, and others, Tribal features all
of the elements that have made May such a breakthrough artist since her 2003
debut, No Turning Back. Here we get her bright, puckered vocal attack showcased
on a bevy of instantly infectious cuts. As with her past albums, Tribal is
split down the middle between songs written by May and songs penned by her
husband and longtime creative partner, guitarist Darrel Higham. There is also
one track, the lyrical, '50s-inspired lullaby "Little Pixie," co-written
by May and her brother Fintan Clabby. From the opening title track, which hints
at Bow Wow Wow's Burundi beat style, to the fiery Cramps-meets-B-52s-sounding
"Wild Woman," May digs deep into the kind of wide-eyed '80s
punk-does-'50s-rock & roll that bands like Restless and the Escalators
championed in the early part of the '80s. Elsewhere, she delivers a handful of
equally compelling songs, including the jaunty country-swing of "It's Good
to Be Alive," the yearning and moody "Gypsy in Me," and the
cavernous and bluesy "Wicked Way." Ultimately, May has always been a
Celtic rockabilly goddess, armed with her trademark front-rolled pompadour and
Irish bodhrán drum. Tribal is her call to arms; her statement of purpose. As
she sings on the title track," When you look in the mirror, tell me what
do you see/Someone new or your ancestry?/You're a king, you're a queen, you're
a wizard, a fool/Or if you're me, then rockabilly rules." Whether it's an
ancient Celtic tribe or a tribe of leather-jacketed rockers, May and her fans
belong. ~ Matt Collar Recording information: Livingstone Studios, London.
Photographer: Barry McCall. Personnel: Imelda May (vocals, bodhran); Darrel
Higham (guitar); Dave Priseman (trumpet, percussion); Al Gare (upright bass,
bass guitar); Steve Rushton (drums, percussion); Mike Crossey (programming).
Audio Mixers: Mike Crossey; Imelda May. ~ CD Universe
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