Mostrando postagens classificadas por data para a consulta blues. Ordenar por relevância Mostrar todas as postagens
Mostrando postagens classificadas por data para a consulta blues. Ordenar por relevância Mostrar todas as postagens

3.4.26

JIMMY GIUFFRE — The Jimmy Giuffre 3 (1957-2012) RM | MONO | Serie Jazz Best Collection 1000 – 3 | FLAC (tracks+.cue), lossless


Jimmy Guiffre 3 features the first version of Giuffre's 3. With guitarist Jim Hall and either Ralph Pena or Jim Atlas on bass, Giuffre is heard on clarinet, tenor, and baritone. The generally introverted music is wistful, has a fair amount of variety, and is melodic while still sounding advanced. In addition to the nine original songs (including the earliest recording of Giuffre's classic folk song "The Train and the River"). An excellent introduction to Jimmy Giuffre's unique music. Scott Yanow
Tracklist :
1.     Gotta Dance 2:29
Written-By – Jimmy Giuffre
2.     Two Kinds Of Blues 5:10
Written-By – Jimmy Giuffre
3.     The Song Is You 3:52
Written-By – Jerome Kern, Oscar Hammerstein
4.     Crazy She Calls Me 5:14
Written-By – Bob Russell, Carl Sigman
5.     Voodoo 2:48
Written-By – Jimmy Giuffre
6.     My All 4:09
Written-By – Bob Russell, Jimmy Giuffre
7.     That's The Way It Is 3:45
Written-By – Jimmy Giuffre
8.     Crawdad Suite   7:10
Written-By – Jimmy Giuffre
9.     The Train And The River 3:31
Written-By – Jimmy Giuffre
Credits :
Bass – Ralph Pena
Clarinet, Baritone Saxophone, Tenor Saxophone, Liner Notes – Jimmy Giuffre
Guitar – Jim Hall 

KENNY BURRELL — Tin Tin Deo (1977-1994) RM | Two Version | FLAC (image+.tracks+.cue), lossless

Tin Tin Deo is a typically tasteful set by guitarist Kenny Burrell. Performing in a sparse trio with bassist Reggie Johnson and drummer Carl Burnette, Burrell plays boppish and swinging versions of his own blues "The Common Ground," Erroll Garner's playful "La Petite Mambo," and six jazz standards. Nothing particularly surprising occurs but Burrell is heard throughout in above-average form and this release should please his fans. Scott Yanow
Tracklist :
1. Tin Tin Deo 7:13
Composed By – Chano Pozo, Gil Fuller 
2. Old Folks 4:31
Composed By – Dedette Hill, Willard Robison
3. Have You Met Miss Jones 2:48
Composed By – Lorenz Hart, Richard Rodgers
4. I Remember You 5:40
Composed By – Johnny Mercer, Victor Schertzinger
5. The Common Ground 4:18
Composed By – Kenny Burrell
6. If You Could See Me Now 6:13
Composed By – Carl Sigman, Tadd Dameron
7. I Hadn't Anyone Till You3:47
Composed By – Ray Noble
8. La Petite Mambo4:15
Composed By – Erroll Garner
Credits :
Bass – Reggie Johnson
Drums – Carl Burnett
Guitar – Kenny Burrell 

2.4.26

BUDDY RICH AND HIS ORCHESTRA — This One's for Basie (1956-1986) RM | FLAC (tracks+.cue), lossless

Drummer Buddy Rich put together an interesting 11-piece group for this tribute to Count Basie. The only Basie alumnus present is trumpeter Harry "Sweets" Edison but the other soloists (trombonist Frank Rosolino and Bob Enevoldsen, Bob Cooper on tenor and pianist Jimmy Rowles) easily fit into the setting. Marty Paich contributed the arrangements, there are plenty of drum solos and the music, if not all that memorable, can easily be enjoyed by straightahead jazz fans. Scott Yanow 
Tracklist :
1.     Blue and Sentimental 4:49
Count Basie / Mack David / Jerry Livingston 
2.     Down for Double 4:10
Freddie Green 
3.     Jump for Me 5:45
Count Basie 
4.     Blues for Basie 7:20
Edison 
5.     Jumping at the Woodside 6:26
Count Basie 
6.     Ain't It the Truth 3:01
Count Basie / Buster Harding / Jack Palmer 
7.     Shorty George 5:14
Count Basie / Andy Gibson 
8.     9:20 Special 4:34
William Engvick / Earle Warren 
Credits :
Arranged By – Marty Paich
Bass – Joe Mondragon
Drums – Buddy Rich
Guitar – Bill Pitman
Piano – Jimmy Rowles
Tenor Saxophone – Bob Cooper
Tenor Saxophone, Baritone Saxophone, Flute – Buddy Collette
Trombone – Frank Rosolino
Trumpet – Conrad Gozzo, Harry Edison, Pete Candoli
Valve Trombone, Tenor Saxophone – Bob Enevoldsen 

30.3.26

EMERSON, LAKE & PALMER — Emerson, Lake & Palmer (1970-2010) RM | SHM-CD | Two Version | FLAC (image+.tracks+.cue), lossless

Lively, ambitious, almost entirely successful debut album, made up of keyboard-dominated instrumentals ("The Barbarian," "Three Fates") and romantic ballads ("Lucky Man") showcasing all three members' very daunting talents. This album, which reached the Top 20 in America and got to number four in England, showcased the group at its least pretentious and most musicianly -- with the exception of a few moments on "Three Fates" and perhaps "Take a Pebble," there isn't much excess, and there is a lot of impressive musicianship here. "Take a Pebble" might have passed for a Moody Blues track of the era but for the fact that none of the Moody Blues' keyboard men could solo like Keith Emerson. Even here, in a relatively balanced collection of material, the album shows the beginnings of a dark, savage, imposingly gothic edge that had scarcely been seen before in so-called "art rock," mostly courtesy of Emerson's larger-than-life organ and synthesizer attacks. Greg Lake's beautifully sung, deliberately archaic "Lucky Man" had a brush with success on FM radio, and Carl Palmer became the idol of many thousands of would-be drummers based on this one album (especially for "Three Fates" and "Tank"), but Emerson emerged as the overpowering talent here for much of the public. Bruce Eder
Tracklist :
1. The Barbarian    4:30
2. Take A Pebble    12:35

3. Knife-Edge    5:06
4. The Three Fates    (7:47)
4a. Clotho (Royal Festival) 1:49
4b. Lachesis (Piano Solo)    2:44
4c. Atropos (Piano Trio)    3:13
5.  Tank    6:49
6.  Lucky Man    4:40
– BONUS TRACK –
7.  The Barbarian (Live At The Isle Of Wight Festival)    11:53
8.  Take A Pebble (Live At The Isle Of Wight Festival)    5:08

Credits :
Arranged By, Directed By – Emerson, Lake & Palmer
Painting [Cover] – Nic Dartnell 

EMERSON, LAKE & PALMER — Pictures at an Exhibition (1971-2010) RM | SHM-CD | Two Version | FLAC (image+.tracks+.cue), lossless


One of the seminal documents of the progressive rock era, a record that made its way into the collections of millions of high-school kids who never heard of Modest Mussorgsky and knew nothing of Russia's Nationalist "Five." It does some violence to Mussorgsky, but Pictures at an Exhibition is also the most energetic and well-realized live release in Emerson, Lake & Palmer's catalog, and it makes a fairly compelling case for adapting classical pieces in this way. At the time, it introduced "classical rock" to millions of listeners, including the classical community, most of whose members regarded this record as something akin to an armed assault. The early-'70s live sound is a little crude by today's standards, but the tightness of the playing (Carl Palmer is especially good) makes up for any sonic inadequacies. Keith Emerson is the dominant musical personality here, but Greg Lake and Palmer get the spotlight enough to prevent it from being a pure keyboard showcase. Bruce Eder
Tracklist :
1.    Promenade    1:57
Written-By – Mussorgsky
2.    The Gnome    4:18
Written-By – Palmer, Mussorgsky
3.    Promenade    1:23
Written-By – Palmer, Mussorgsky

4.    The Sage    4:42

Written-By – Palmer
5.    The Old Castle    2:33
Written-By – Palmer, Mussorgsky
6.    Blues Variation    4:23
Written-By – Emerson / Lake / Palmer
7.    Promenade    1:28
Written-By – Mussorgsky
8.    The Hut Of Baba Yaga    1:12
Written-By – Mussorgsky
9.    The Curse Of Baba Yaga    4:10
Written-By – Emerson / Lake / Palmer
10.    The Hut Of Baba Yaga    1:06
Written-By – Mussorgsky
11.    The Great Gates Of Kiev    6:37
Written-By – Lake, Mussorgsky
12.    Nutrocker    4:25
Arranged By – Emerson, Lake & Palmer
Written-By – Kim Fowley
– BONUS TRACK –
13.    Rondo (Live At Lyceum 9 / Sec / 1970)    14:29

28.3.26

EMERSON, LAKE & PALMER — Works Volume 2 (1977-2010) RM | SHM-CD | Two Version | FLAC (image+.tracks+.cue), lossless

After the rather dull Works, Vol. 1, the highly underrated Works, Vol. 2 is a godsend. Works, Vol. 1 took their pompous, bombastic, keyboard-driven prog rock epics to the limit; had it been stripped of its excesses and coupled with the strongest cuts from Works, Vol. 2, the band may have had an enormous success with critics and fans alike. Volume 2's brief, eclectic compositions cover an array of musical styles, combining stimulating originals and handsomely orchestrated renditions of "Maple Leaf Rag," "Honky Tonk Train Blues," and "Show Me the Way to Go Home." Lake peppers the tunes with guitar and bass flourishes, resulting in some of his most challenging instrumental work, and both he and Palmer deliver incredibly strong performances. Meanwhile,Peter Sinfield contributes some of his most mature and accomplished lyrics. Emerson's work is solid and creative, but sounds a bit dated, which is part of why the band couldn't endure. Unlike some ELP albums, Volume 2's brief pieces sustain interest; there really isn't a weak tune in the set. The five instrumentals are highlighted by two short prog rock tunes, including the jazzy "Bullfrog," which features Lake's brief jazz bass solo and Palmer's fluid, versatile drumming. "Barrelhouse Shake-down" and "Maple Leaf Rag" showcase Emerson's superb ragtime and barrelhouse piano playing, and Palmer's jazz fusion/marching band piece, "Close But Not Touching," features horns and Lake's psychedelic electric guitar lines. The vocal pieces are equally interesting. "Brain Salad Surgery" is progressive jazz-rock that bears some resemblance to King Crimson's "Cat Food," unsurprising since each features Lake singing Sinfield's lyrics. And, of course, there is the hit "I Believe in Father Christmas," a beautiful Lake/Sinfield composition that highlights Lake's strong voice and vibrant acoustic guitar. David Ross Smith
Tracklist :
1.    Tiger In A Spotlight    4:34
2.    When The Apple Blossoms Bloom In The Windmills Of Your Mind I'll Be Your Valentine 3:55
3.    Bullfrog    3:52
4.    Brain Salad Surgery    3:05

5.    Barrelhouse Shake-Down    3:47
6.    Watching Over You    3:55
7.    So Far To Fall    4:56
8.    Maple Leaf Rag    1:55
9.    I Believe In Father Christmas    3:16
10.        Close But Not Touching    3:19
11.        Honky Tonk Train Blues    3:09
12.        Show Me The Way To Go Home    3:30
13.        Bo Diddley    5:13
14.        Humbug    2:30
15.        The Pancha Suite    2:57
Credits :
Drums – Carl Palmer
Keyboards – Keith Emerson
Vocals, Bass Guitar, Producer – Greg Lake

26.3.26

BANCO DEL MUTUO SOCCORSO — Transiberiana (2019) FLAC (tracks), lossless

In 2014, Italy's prog legends Banco del Mutuo Soccorso hadn't recorded a studio album in two decades. They were planning one when founding vocalist and songwriter Francesco di Giacomo was killed in a car accident. Given the impact of the tragedy, there was no reason to think that they'd ever release another. But that was before fans found out about Di Giacomo's instructions to keyboardist/composer Vittorio Nocenzi after seeing Tony D'Alessio sing with Scenario: "Before I die, mark him as a hypothetical substitute for the band." Nocenzi did exactly that. The loosely conceptual Transiberiana is the first studio offering of new material from Banco in 25 years. Nocenzi penned it with his son Michelangelo and explains in the liner notes that the recording is the band's "autobiographical journey." D'Alessio may not possess the sheer charisma that Di Giacomo did, but he acquits himself beautifully. He was a lifelong fan of the band, and Italian prog in general, before joining. Nocenzi hired a slew of new players to fill out the lineup, with Filippo Marcheggiani and Nicola Di Già on guitars, Marco Capozi on bass, and Fabio Moresco on drums. Nocenzi continues to hold down the keyboard chair and sings backup.

Musically, this is wildly ambitious. The group's sound has naturally evolved, but it pays no heed to modern production values. The album's sound is analog. The number of styles the band move through on Transiberiana is quite astonishing -- they take deep dives into modern prog, avant-garde, atmospheric and experimental rock, classical, jazz, and even have an AOR moment or two. Opener "Stelle Sulla Terra" is almost suite-like in construction. It commences with a three-note circular keyboard vamp with jagged synths coming in to add a pulse, then alternates between quickly shifting time signatures, pastoral passages, and finally, D'Alessio's balladic vocals. As the music turns itself inside-out, colliding and dove-tailing through metallic futurism, Zappa-esque arpeggios, and riff-enhanced rock, he responds with recitative shouting and crooning. "La Discesa Dal Treno" offers dreamy piano and powerful guitar riffs before fierce lead guitar runs that underscore passionate vocals, while a tender jazz piano melody adds tension and later, balance. The synth in "Lo Sciamano" sounds like Vangelis and Keith Emerson struggling to inhabit the same body before King Crimson-esque guitars and thrumming drums add heft, and a rootsy acoustic piano delivers blues chords and post-bop arpeggios as D'Alessio croons. "Il Grande Bianco" begins with a guitar pattern reminiscent of '80s-era King Crimson (think Discipline and Beat), with horn and string sounds emerging overture-like to introduce the first part of the melody. Over its six minutes, it travels through prog and classical music, harmonious cinematic tropes, and knotty, cascading prog. The set closes with two bonus cuts, live versions of two Banco classics cut at 2018's Festival Prog Di Veruno -- "Metamorfosi" and "Il Ragno" -- which reveal this version of Banco can hold their own on-stage. Transiberiana is far better than almost any fan would expect from a band continuing their exploratory quest for musical discovery and expansion more than 25 years after their last effort. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
 Tracklist :
1.   Stelle Sulla Terra    (6:05)
1a.    La Partenza    
1b.    Cavalli Sull'altopiano    
1c.    Perche', Perche', Perche'    
2.    L'imprevisto    3:31
3.    La Discesa Dal Treno    (6:17)
3a.    Fermi Ed Agitati Come Tende Al Vento    
3b.    Come Nell'Ade    
4.    L'assalto Dei Lupi    5:37
5.    Campi Di Fragole 3:34
Lead Vocals – Vittorio Nocenzi
6.    Lo Sciamano    3:59
7.    Eterna Transiberiana    6:18
8.    I Ruderi Del Gulag    6:05
9.    Lasciando Alle Spalle    1:52
10.    Il Grande Bianco    6:33
11.    Oceano: Strade Di Sale    3:38
– BONUS TRACK –
12.    Metamorfosi (Live)    9:40
13.    Il Ragno (Live)    5:37
Credits :
Arranged By [Arrangiament] – Filippo Marcheggiani, Michelangelo Nocenzi, Nicola Di Già, Vittorio Nocenzi
Artwork – Cristiano Longhi, Link Design, Milano*, Stefano Mattiozzi, Valentina Mazzella
Keyboards [Additional Keyboards], Programmed By [Loops Programming] – Michelangelo Nocenzi
Lyrics By – Francesco Di Giacomo (tracks: 12, 13), Paolo Logli (tracks: 1 to 11), Vittorio Nocenzi
Music By – Michelangelo Nocenzi (tracks: 1 to 11), Vittorio Nocenzi
Performer [BMS Are], Bass – Marco Capozi
Performer [BMS Are], Drums – Fabio Moresco
Performer [BMS Are], Fortepiano [Pianoforte], Keyboards, Backing Vocals – Vittorio Nocenzi
Performer [BMS Are], Lead Guitar [Lead Guitars], Backing Vocals – Filippo Marcheggiani
Performer [BMS Are], Lead Vocals – Tony D'Alessio
Performer [BMS Are], Rhythm Guitar [Rhythm Guitars], Acoustic Guitar [Acoustic Guitars], Balalaika – Nicola Di Già

21.3.26

PROCOL HARUM – Novum (2017) FLAC (tracks+.cue), lossless

Fifty years after "Whiter Shade of Pale" introduced the concept of progressive rock, Procol Harum roll on, even with singer and pianist Gary Brooker as the only remaining original member. Novum is their first new studio album in 14 years. Their last, 2003's The Well's on Fire, marked the end of the decades-long writing partnership between Brooker and lyricist Keith Reid. Organist Matthew Fisher and drummer Mark Brzezicki left shortly thereafter. Brooker still had guitarist Geoff Whitehorn and bassist Matt Pegg. They recruited organist Josh Phillips and drummer Greg Dunn. This version has been together for a decade.
Novum is a worthy 50th anniversary offering (though it's not, as Brooker claims, Procol's finest). This is the sound of a working band, not a tired reunion project. Brooker enlisted lyricist Pete Brown -- known for his work with Cream and Graham Bond -- and in an unusual move, brought the entire band into the songwriting process. What's on offer here is the most rocking sound Procol Harum have delivered since Broken Barricades. There is only one overtly "classical" moment here, and it’s a send up -- there's a direct quote from Pachelbel's Canon as a brief intro to the wonderful "Sunday Morning.” Some truly perverse lyric moments are expertly crafted into well-composed songs (would we expect anything less?). Opener “I Told on You” is a forceful prog rocker about professional jealousy, bitterness, and retribution. Its bridge and chorus are classic Brooker (think Home and Grand Hotel). “Last Chance Motel” is a strange and ironic take on the murder ballad that recalls the musical structure of early Elton John and Bernie Taupin tunes. It’s among the many vehicles here for Brooker’s voice, which remains as resonant and expressive as ever -- there’s the hint of graininess in it, but his power remains undiminished by time. There are also some atypical, straight-on political swipes at hyper-capitalism, too, as on the bluesy “Soldier” and the meld of mean rock and Baroque pop in “Businessman.” “Don’t Get Caught” commences as a ballad with Brooker’s trademark nearly sepulchral singing, but becomes an anthem offering sage advice for guilt-free living atop blazing guitars and swelling strings. One might hear traces of Queen's extended sense of vocal harmony in the rowdy chorus of the loopy "Neighbor," but Brian May himself would admit that Queen snagged it from Procol Harum in the first place. "Can't Say That" is an angry number and it rocks hard: Brooker's signature piano style runs up hard against Whitehorn's electric blues guitar vamps (think the Doors' "Roadhouse Blues") with a killer Pegg bassline. "The Only One" offers Brooker at his most confessional and melancholy, as he builds himself up and lets himself glide down the poignant lyric. Novum is far better than anyone had any right to expect: It's energetic, hungry, and swaggering. That said, it retains the trademark class and musical sophistication that makes Procol Harum iconic. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1.    I Told On You    5:32
2.    Last Chance Motel    4:48
3.    Image Of The Beast    4:56
4.    Soldier    5:28
5.    Don't Get Caught    5:12
6.    Neighbour    2:46
7.    Sunday Morning    5:28
8.    Businessman    4:44
9.    Can't Say That    7:13
10.    The Only One    6:10
11.    Somewhen    3:47
Credits :
Bass – Matt Pegg
Drums – Geoff Dunn
Electric Organ [Hammond], Other [Montage] – Josh Phillips
Guitar – Geoff Whitehorn
Illustration, Artwork – Julia Brown 
Lyrics By – Pete Brown (tracks: 1 to 3, 5 to 10)
Vocals, Piano – Gary Brooker

20.3.26

ANN RICHARDS — I'm Shooting High (1958) Vynil, LP | FLAC (tracks), lossless

Ann Richards, only in her early twenties at the time, had already sung with Charlie Barnet and would always be closely associated with Stan Kenton (whom she married and later divorced). Her life was short, but she did record a few albums as a leader, including this one, her debut. Backed by an unidentified big band conducted by Brian Farnon and arranged by Warren Barker, Richards displays an appealing voice and a swinging style. She was best at this point on upbeat material, so the highlights include "I'm Shooting High," "Poor Little Rich Girl" and "Will You Still Be Mine." Scott Yanow
Tracklist : 
1.   I'm Shooting High 1:33
Written-By – Jimmy McHugh, Ted Koehler
2.   Moanin' Low 5:51
Written-By – Howard Dietz, Ralph Rainger
3. Nightingale 2:39
Written-By – Wise, Rosner, Cougat
4.   Blues In My Heart 3:33
Written-By – King Carter, Irving Mills
5.   I've Got To Pass Your House To Get To My House 2:46
Written-By – Lew Brown
6.   Deep Night 2:39
Written-By – Charlie Henderson, Rudy Vallee
7.   Poor Little Rich Girl 2:20
Written-By – Noel Coward
8.   Should I 3:02
Written-By – Arthur Freed, Nacio Herb Brown
9.   I'm In The Market For You 2:05
Written-By – James F. Hanley, Joseph McCarthy
10. Absence Makes The Heart Grow Fonder (For Somebody Else) 2:26
Written-By – Warren, Young, Lewis
11.   Lullaby Of Broadway 3:02
Written-By – Al Dubin, Harry Warren 
12.   Will You Still Be Mine? 2:05
Written-By – Matt Dennis, Tom Adair
Credits :
Arranged By, Orchestrated By – Warren Barker
Conductor – Brian Farnon
Vocals – Ann Richards

RAQUEL BITTON — Paris Blues (2006) Unofficial Release | HDCD | Two Version | APE + FLAC (image+.tracks+.cue), lossless

PARIS BLUES ” is the musical story - sometimes joyful, often melancholy, and always hopeful - of a beautiful city in a time of war and liberation. It's the evocation of an era that produced some of our most gifted composers and performers, Parisians by birth and by adoption who sustained and redefined their city's sense of romance and excitement in the years before, during, and immediately after World War II.

Like the people whose work this CD celebrates, I too have left my heart in Paris. I've traveled from America to France, and on to Spain and Portugal, retracing the lives of these artists who, along with Americans Sydney Bechet and Billie Holiday, gave Paris its special sound in the years 1937 to 1947.

I wanted to lose myself in the places they once walked, taste the foods they tasted, listen to the music they inspired, and talk to the people in the streets.

For generations, composers, writers, artists of every temperament and from virtually every country in the world have been irresistibly drawn to the City of Light, where they could share and refine their superb talents in an atmosphere of acceptance and celebration.

And even after the misery of the Occupation, the Mars Club in Paris was one of the many nightclubs that featured African American musicians, who were instrumental in resurrecting Paris jazz after its glory days in Montmartre.

PARIS BLUES ranges from the music of the American Sydney Bechet (Petite Fleur); Belgian Gypsy guitarist Django Reinhardt (Nuages); Billie Holiday (Je suis folle de t'aimer); the queen of Portuguese “fado” Amalia Rodrigues (Paris s'eveille la nuit); Argentinean Tangoist Tino Rossi (Ecris moi); French crooner Jean Sablon, who teamed with Django and violinist Stephan Grappelli (Il ne faut pas briser un reve); band singer Lucienne Delyle (Jai chante sur ma peine, Pour lui, malgre tes serments); and sultry Jazz chanteuses Leo Marjane (Je suis seule ce soir) and Suzy Solidor (Escale).

I have retained the verses, so seldom sung any more, because it is in verses that you find the heartbeat of each song. Without them, the songs don't really exist.

I've spent my life passionately in love with this music. This was the music I heard growing up, the songs my parents whistled, hummed, danced to, the poetry that my father - himself so much a poet at heart - opened up for me.

Together, we spent more than five years going through his record collection - and more often than not, my parents would forget I was in the room as they reminisced about the first time they'd heard a particular song. And once, in the autumn of their lives, when Tino Rossi's Ecris moi came through the pops and scratches of the ancient phonograph, their once-again youthful eyes locked in one long gaze and they stood up to dance the tango.

My father said to me days before he passed away, and only two months before I recorded these songs, “Don't be sad when I go. You'll find me again in all your songs, in every note, in every word.”
And I say: “Papa, the day you were born was the most beautiful day on earth.”
Raquel (the CD’s liner notes)
Tracklist :
1.     Nuages (Clouds) 3'42
Jacques Larue / Django Reinhardt / Spencer Williams
2.     Petite Fleur (Little Flower) 3:21
3.     J'Ai Chante Sur Ma Peine ( I Sang in Spite of My Sorrow) 4:06
4.     Pour Lui (For Him) 3:19
5.     Ecris Moi (Write to Me) 3:13
6.     Malgre Tes Serments (I Wonder Who's Kissing Him Now) 4'05
J. Stephen Howard
7.     Paris S'Eveille La Nuit (Paris Awakes at Night) 2:58
8.     Je Suis Folle de T'Aimer (I'm a Fool to Want You) 4'55
Raquel Bitton / J. Barry Herron / Frank Sinatra
9.     Il Ne Faut Pas Briser un Reve (You Can't Shatter a Dream) 2:35
Jean Jal
10.     Je Suis Seule Ce Soir (I'm So All Alone) 3'49
Paul Durand
11.     Escale (Lady of the Harbor) 3'07
Credits :
Accordion – Odile Lavault
Alto Saxophone – Steve Parker
Bandoneon – Odile Lavault
Baritone Saxophone – Ray Loeckle
Bass – Mario Suraci
Conductor – Jim Shallenberger
Drums – Harold Jones
Flute – Steve Parker
French Horn – Bill Klingelhoffer
Guitar – Steve Erquiaga
Orchestrated By – Bob Holloway
Piano – Larry Dunlap
Tenor Saxophone – Melicio "The Cat" Magdaluyo
Trombone – Dean Hubbard
Trumpet – Allen Smith

14.3.26

JACK KEROUAC — Reads On The Road (1999) Voices Series | FLAC (tracks+.cue), lossless

While Rhino's compilation might mark a better place to start, Reads on the Road is certainly a worthy collection of some of Jack Kerouac's narratives and poetry, embellished by some actual singing. Kerouac is a more enjoyable author to hear reading on disc than most, since his prose had much of a jazz rhythm, and since he was an engaging reader/performer himself. The big find on this 74-minute CD is the 28-minute excerpt from On the Road his most famous and widely-read book, found on '50s acetates that had been thought lost. "On the Road" is presented as it was discovered, with just Kerouac's voice, but guitarist Vic Juris and Hammond organist John Medeski recorded music in 1998 for his early-'60s musical song-poem "On the Road" (a separate performance from his reading of material from the book). It's unexpected, and amusing if not brilliant, to hear Kerouac sing three jazz standards by the likes of Sammy Cahn, Johnny Mercer, and Gordon Jenkins in the late 1950s (presented with the original musical backing, by unknown musicians). David Amram, who had provided musical backup for Kerouac's readings in the late 1950s, wrote and recorded music in 1998 for two more Kerouac poems, cut by Kerouac in the back of a record shop, including the previously unpublished "Washington D.C. Blues," which runs for 17 minutes. Ending the set is Tom Waits, backed by Primus, doing yet another "On the Road," for which Waits put music to Kerouac's prose. Richie Unterberger
Tracklist :
1.    Jack Kerouac–    Ain't We Got Fun 2:31
Instrumentation By – Unknown Artist
Recorded By, Mixed By – Jerry Newman
Technician – Sean Slade
Vocals – Jack Kerouac
Written-By – Egan, Whiting, Sammy Kahn

2.    Jack Kerouac–    On The Road (Jazz Of The Beat Generation)  28:40
Technician – Greg Calbi, Steve Fallone
Voice – Jack Kerouac

3.    Jack Kerouac–    On The Road 2:16
Arranged By, Guitar – Victor Juris
Arranged By, Organ [Hammond] – John Medeski
Engineer [Assistant] – James Harned
Engineer, Mixed By – Danny Lawrence
Technician – Jim Sampas
Voice – Jack Kerouac

4.    Jack Kerouac–    Come Rain Or Shine 3:37
Instrumentation By – Unknown Artist
Lyrics By – Johnny Mercer
Music By – Harold Arlen
Recorded By, Mixed By – Jerry Newman
Technician – Sean Slade
Vocals – Jack Kerouac

5.    Jack Kerouac–    Orizaba 210 Blues 9:32
Composed By, Performer, French Horn, Piano, Shanai, Goblet Drum [Dumbek], Drums [Frame Drum], Flute [Lakota], Tin Whistle [Penny], Ocarina, Congas, Percussion – David Amram
Engineer [Assistant] – James Harned
Engineer, Mixed By – Danny Lawrence
Technician – Jim Sampas
Voice – Jack Kerouac

6.    Jack Kerouac–    When A Woman Loves A Man 2:54
Instrumentation By – Unknown Artist
Recorded By, Mixed By – Jerry Newman
Technician – Sean Slade
Vocals – Jack Kerouac
Written-By – Bernard D. Hanighen, Gordon Jenkins, John H. Mercer

7.    Jack Kerouac–    Leavin' Town 3:00
Instrumentation By – Unknown Artist
Recorded By, Mixed By – Jerry Newman
Technician – Sean Slade
Vocals – Jack Kerouac
Written-By – George Handy, Jack Segal

8.    Jack Kerouac–    Washington D.C. Blues 17:43
Alto Saxophone – Jerry Dodgion
Bass – Victor Venegas
Bassoon – Jane Taylor
Composed By, Performer – The David Amram Ensemble
Congas – Candido
Drums, Bongos – Johnny Almendra
Engineer [Assistant] – Danny Harned
Engineer, Mixed By – Danny Lawrence
Guitar – Victor Juris*
Oboe, English Horn – Ronald Roseman
Organ [Hammond] – John Medeski
Piano, French Horn, Shanai, Goblet Drum [Dumbek], Whistle [Penny] – David Amram
Technician – Jim Sampas
Viola – Midhat Serbagi
Voice – Jack Kerouac

9.    Tom Waits & Primus–    On The Road 3:58
Bass [Upright], Percussion – Les Claypool
Engineer [Second] – Jeff Sloan
Guitar, Percussion – Larry LaLonde
Mixed By – Bernd Burgdorf
Music By, Performer, Vocals, Guitar, Percussion – Tom Waits
Percussion – Brain (26)
Performer – Primus
Recorded By – Biff Daws
Saxophone – Ralph Carney 

6.3.26

IRÈNE SCHWEIZER · HAMID DRAKE — Celebration (2021) FLAC (tracks+.cue), lossless

Tracklist :
1.        A Former Dialogue    6:26
2.        Hot Sunflowers    5:44
3.        The Good Life    4:29
4.        Twister    5:52
5.        Stringfever    5:04
6.        Blues For Crelier    3:17
7.        Nickelsdorf Glow    2:59
8.        Celebration    4:39
9.        Song For Johnny - In Memory Of Johnny Dyani    5:22
Credits : 
Composed By, Piano – Irène Schweizer
Cover – Rosina Kuhn
Drums – Hamid Drake

5.3.26

BILL GAITHER — Complete Recorded Works In Chronological Order Volume 1 · 1935-1936 | DOCD-5251 (1994) RM | FLAC (tracks+.cue), lossless

Bill Gaither had all the right connections for an aspiring bluesman during the 1930s, including a Decca recording contract and personal friendships with Leroy Carr, Big Bill Broonzy, Jazz Gillum, and Tampa Red. Yet Gaither has never achieved the kind of posthumous popularity that has settled upon many of his acquaintances and contemporaries. All of his known works were reissued on five CDs by Document in the '90s, with volume one containing 23 recordings dating from 1935 and 1936. A true understanding of his life and accomplishments needs to be grounded in the background and events leading up to his earliest sessions. William Arthur Gaither was born in Belmont, KY on April 21, 1910. He was descended from African American slaves owned by the Gaither family, after whom Gaithersburg, MD was named. During the 1780s, Gaither's ancestors were brought to Bullitt County, a region south of Louisville, KY. After the Civil War they remained in the area and specialized in tobacco cultivation. William's parents were named Samuel Gaither and Bertha Kennison. In 1920, following their divorce, his mother took young Bill to Louisville, and it was there that he learned to play the guitar from his uncle, a mandolin handler who worked with various jug bands. Bill is known to have cut two records for a Victor field recording unit in 1931, but these were not released and have never been located. When in 1932 Gaither moved to Indianapolis, IN, he fell in with the local blues crowd and spent much of his time maneuvering around a stretch of Indiana Avenue known as Naptown; this was the city's epicenter of African American musical activity. Soon after returning to Louisville in 1934, Gaither began appearing in clubs with various groups under his direction, providing entertainment for both black and white audiences. It was a successful time for Gaither, and he became famous throughout Louisville. The following year, this restless individual returned to Indianapolis. During a visit to Chicago he cut his first records for the Decca label on December 15, 1935, singing and strumming the guitar in duo with an excellent piano player by the name of Honey Hill. Within the framework of the 8- and 12-bar blues, Gaither had a tendency to vary the structure of his songs, more so than some of his contemporaries like Peetie Wheatstraw or Bumble Bee Slim. Most of Gaither's songs describe interpersonal relationships, with lyrics that emphasize his bittersweet attitudes about women. Leroy Carr was a major influence that Gaither proudly emphasized by having himself billed as Leroy's Buddy. Beginning in October 1936, the instrumentation was expanded to include an unidentified string bassist and an unnamed individual who operated a pair of spoons as implements of percussion. On "Who's Been Here Since I Been Gone," Hill switches from piano to the gentle celeste, and the tune is recognizable as "Organ Grinder Swing," a whimsical air popularized by the Jimmie Lunceford Orchestra. arwulf arwulf
Tracklist :
1.        Naptown Stomp    2:33
2.        Tired Of The Same Stuff All The Time (90510)    3:01
3.        Georgia Woman Stomp (Carrying On Blues)    3:06
4.        Pains In My Heart    2:36
5.        Strange Woman    2:36
6.        Which One I Love The Best    2:45
7.        Pins And Needles    2:31
8.        Bad Luck Child    2:37
9.        You Done Lost Your Swing    2:56
10.        After The Sun's Gone Down    2:57
11.        Stoney Lonesome    3:02
12.        You Done Showed Your D.B.A.    3:11
13.        Tired Of That Same Stuff All The Time (90933)    2:50
14.        Curbstone Blues    2:31
15.        Morning Dream    2:59
16.        Tired Of Your Line Of Jive    2:44
17.        Too Many Women    2:46
18.        Evil Hearted Me    2:38
19.        Gravel In My Bread    3:00
20.        How Long Baby How Long?    2:38
21.        L & N Blues    3:07
22.        'Bout The Break Of Day    2:51
23.        Who's Been Here Since I Been Gone    2:39
Credits : 
Bass – Unknown Artist (tracks: 13 to 23)
Celesta – Honey Hill (tracks: 23)
Compiled By, Producer – Johnny Parth
Liner Notes [Booklet Notes] – Pen Bogert
Piano – Honey Hill
Remastered By – Gerhard Wessely
Spoons – Unknown Artist (tracks: 16, 22, 23)
Vocals, Guitar – Bill Gaither
 

BILL GAITHER — Complete Recorded Works In Chronological Order Volume 2 · 1936-1938 | DOCD-5252 (1994) RM | FLAC (tracks+.cue), lossless

The second volume in Document's five-part Bill Gaither retrospective presents 23 recordings made between October 1936 and June 1938, including two numbers that specifically reference the region where he lived, worked, and played during much of this period. One of two songs sung by Frank Busby, "'Leven Light City" is about Kokomo, IN, which is due north of Indianapolis. "Blake Street Blues" was inspired by life in the African American community that existed along Indiana Avenue in the heart of Indianapolis as early as the 1860s. When Gaither cut his record, the biggest news in that district was the construction of the Lockefield Garden Apartments, a racially segregated public housing project that improved living conditions in the district for a little over a decade before urban decay set in. On this collection, Gaither, who strums guitar throughout in duet with pianist Honey Hill, sings mainly about craving female companionship, discovering how untrustworthy some of his girlfriends turned out to be, and feeling like an outsider wherever he went. arwulf arwulf
Tracklist :
1.    Bill Gaither–    You Done Showed Your D-B-A-, No. 2    2:49
2.    Bill Gaither–    Tee-Ninecy Mama (Little Sweet Mama)    2:52
3.    Bill Gaither–    Just The Wrong Man    2:58
4.    Bill Gaither–    Jiving Man Blues    2:58
5.    Bill Gaither–    You're A Mean Mistreater    2:56
6.    Bill Gaither–    Sunrise Blues    2:50
7.    Bill Gaither–    Orneriest Girl In Town    2:49
8.    Frank Busby–    'Leven Light City    3:02
9.    Frank Busby–    Prisoner Bound    3:04
10.    Bill Gaither–    New Bad Luck Child    2:35
11.    Bill Gaither–    New Little Pretty Mama    2:37
12.    Bill Gaither–    I'm Wise To Your Sweet Line Of Jive    3:01
13.    Bill Gaither–    I Just Keep On Worrying    2:55
14.   Bill Gaither–    Blake Street Blues    2:46
15.    Bill Gaither–    New Evil Hearted Blues    2:31
16.    Bill Gaither–    Won't You Tell Me Baby    2:55
17.    Bill Gaither–    Tired Of Sleeping By Myself    2:39
18.    Bill Gaither–    Rocky Mountain Blues    3:02
19.    Bill Gaither–    In The Wee Wee Hours    3:10
20.    Bill Gaither–    Do Like You Want To Do    3:18
21.    Bill Gaither–    Thousand Years And A Day    2:44
22.    Bill Gaither–    Mean Old World To Live In    2:41
23.    Bill Gaither–    Do Like I Want To Do    2:50
Credits : 
Bass – Unknown Artist (tracks: 4 to 13)
Compiled By, Producer – Johnny Parth
Guitar – Bill Gaither
Liner Notes [Booklet Notes] – Pen Bogert
Piano – Honey Hill
Remastered By – Gerhard Wessely
Vocals – Bill Gaither (tracks: 1 to 7, 10 to 23), Frank Busby (tracks: 8, 9)

BILL GAITHER — Complete Recorded Works In Chronological Order Volume 3 · 1938-1939 | DOCD-5253 (1994) RM | FLAC (tracks+.cue), lossless

Of the five installments in Document's complete recordings of Bill Gaither, volume three's 22 selections are the most instrumentally diverse. According to the liner notes by Louisville, KY historian Pen Bogert, the addition of an unidentified alto saxophonist on seven titles recorded at the session that took place in New York City on June 23, 1938 might have been suggested by a producer at Decca Records. By this time, Gaither, a friend and proud follower of Leroy Carr, had also expanded his guitar technique to combine the initial Scrapper Blackwell influence with that of Lonnie Johnson. On June 24, Gaither's Indianapolis-based colleague Honey Hill cut his only known piano solos, a tidy "Boogie Woogie" and a swinging set of variations that he called "Set ‘Em." Five days later, Gaither made his only recordings with a pianist other than Hill, anchored by a drummer and with someone else playing the guitar while he sang. According to the enclosed discography, it is possible that the trio backing him on this date consisted of pianist Lil Armstrong, guitarist Teddy Bunn, and drummer O'Neil Spencer. Whoever they were, this little group (and the aforementioned saxophonist) provided Bill Gaither with the most jazz-inflected accompaniments of his entire career. arwulf arwulf
Tracklist :
1.    Leroy's Buddy, (Bill Gaither)–    Old Coals Will Dwindle 2:56
Piano – Honey Hill
Vocals, Guitar – (Bill Gaither), Leroy's Buddy

2.    Leroy's Buddy, (Bill Gaither)–    Babyfield Ways Girl 2:40
Piano – Honey Hill
Vocals, Guitar – (Bill Gaither), Leroy's Buddy

3.    Leroy's Buddy, (Bill Gaither)–    It's Grieving Me 2:41
Piano – Honey Hill
Vocals, Guitar – (Bill Gaither), Leroy's Buddy

4.    Leroy's Buddy, (Bill Gaither)–    Old Model "A" Blues 2:35
Piano – Honey Hill
Vocals, Guitar – (Bill Gaither), Leroy's Buddy

5.    Leroy's Buddy, (Bill Gaither)–    You Done Lost Your Swing No. 2 3:06
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Piano – Honey Hill
Vocals, Guitar – (Bill Gaither), Leroy's Buddy

6.    Leroy's Buddy, (Bill Gaither)–    Champ Joe Louis 2:51
Alto Saxophone – Unknown Artist
Piano – Honey Hill
Vocals, Guitar – (Bill Gaither), Leroy's Buddy

7.    Leroy's Buddy, (Bill Gaither)–    So Much Trouble  2:32
Alto Saxophone – Unknown Artist
Piano – Honey Hill
Vocals, Guitar – (Bill Gaither), Leroy's Buddy

8.    Leroy's Buddy, (Bill Gaither)–    It's Coming Back Home To You 2:39
Alto Saxophone – Unknown Artist
Piano – Honey Hill
Vocals, Guitar – (Bill Gaither), Leroy's Buddy 

9.    Leroy's Buddy, (Bill Gaither)–    Right Hand Friend 3:07
Alto Saxophone – Unknown Artist
Piano – Honey Hill
Vocals, Guitar – (Bill Gaither), Leroy's Buddy

10.    Leroy's Buddy, (Bill Gaither)–    If I Was The Devil 2:47
Alto Saxophone – Unknown Artist
Piano – Honey Hill
Vocals, Guitar – (Bill Gaither), Leroy's Buddy

11.    Leroy's Buddy, (Bill Gaither)–    New Pains In My Heart 2:28
Alto Saxophone – Unknown Artist
Piano – Honey Hill
Vocals, Guitar – (Bill Gaither), Leroy's Buddy

12.    Honey Hill–    Boogie Woogie 2:49
Piano – Honey Hill
13.    Honey Hill–    Set 'Em 2:38
Piano – Honey Hill

14.    Leroy's Buddy, (Bill Gaither)–    Sweet Mama 2:36
Drums [Poss.] – O'Neil Spencer
Guitar [Poss.] – Teddy Bunn
Piano [Poss.] – Lil Armstrong
Vocals – (Bill Gaither), Leroy's Buddy

15.    Leroy's Buddy, (Bill Gaither)–    Noah's Dove 2:33
Drums [Poss.] – O'Neil Spencer
Guitar [Poss.] – Teddy Bunn
Piano [Poss.] – Lil Armstrong
Vocals – (Bill Gaither), Leroy's Buddy

16.    Leroy's Buddy, (Bill Gaither)–    Old Fashioned Woman 2:35
Drums [Poss.] – O'Neil Spencer
Guitar [Poss.] – Teddy Bunn
Piano [Poss.] – Lil Armstrong
Vocals – (Bill Gaither), Leroy's Buddy

17.    Leroy's Buddy, (Bill Gaither)–    I Got Your Water On 2:53
Drums [Poss.] – O'Neil Spencer
Guitar [Poss.] – Teddy Bunn
Piano [Poss.] – Lil Armstrong
Vocals – (Bill Gaither), Leroy's Buddy

18.    Leroy's Buddy, (Bill Gaither)–    Too Late Too Late 2:32
Drums [Poss.] – O'Neil Spencer
Guitar [Poss.] – Teddy Bunn
Piano [Poss.] – Lil Armstrong
Vocals – (Bill Gaither), Leroy's Buddy

19.    Leroy's Buddy, (Bill Gaither)–    New Rocky Mountain Blues 2:50
Drums [Poss.] – O'Neil Spencer
Guitar [Poss.] – Teddy Bunn
Piano [Poss.] – Lil Armstrong
Vocals – (Bill Gaither), Leroy's Buddy

20.    Leroy's Buddy, (Bill Gaither)–    Big Time Town Woman 2:51
Drums [Poss.] – O'Neil Spencer
Guitar [Poss.] – Teddy Bunn
Piano [Poss.] – Lil Armstrong
Vocals – (Bill Gaither), Leroy's Buddy

21.    Leroy's Buddy, (Bill Gaither)–    When My Woman's Lovin' Someone Else 2:31
Drums [Poss.] – O'Neil Spencer
Guitar [Poss.] – Teddy Bunn
Piano [Poss.] – Lil Armstrong
Vocals – (Bill Gaither), Leroy's Buddy

22.    Leroy's Buddy, (Bill Gaither)–    Racket Blues 2:30
Drums [Poss.] – O'Neil Spencer
Guitar [Poss.] – Teddy Bunn
Piano [Poss.] – Lil Armstrong
Vocals – (Bill Gaither), Leroy's Buddy

Credits : 
Compiled By, Producer – Johnny Parth
Liner Notes [Booklet Notes] – Pen Bogert
Remastered By – Gerhard Wessely
 

4.3.26

BILL GAITHER — Complete Recorded Works In Chronological Order Volume 4 · 1939 | DOCD-5254 (1994) RM | FLAC (tracks+.cue), lossless

Volume four in Document's five-fold set of Bill Gaither's complete recorded works contains his last 23 Decca recordings which date from September and October of 1939. Having cut his only records without Indianapolis pianist Honey Hill in New York City (where an alto saxophonist also sat in on one date), Gaither returned to Chicago where he and Hill joined forces with a string bassist and ground out a definitive series of Midwestern blues with poignant lyrics that are typical of Gaither's psychological profile. All of his emotional elements are in evidence here: embittered cynicism, moody self-absorption, and self-pity exacerbated by his disappointing relationships with women. The cornerstone of this unhappy obsession appears to have been an abruptly terminated affair with a certain Rose Lee, who met him and left him in Louisville in 1934, then rejoined him there six years later and lived with him until he was conscripted into the army in 1942. Some of these songs were written by Honey Hill, a solid pianist who was Gaither's right-hand man. These are Hill's last known recordings. Gaither's story is played out in the fifth and final volume of his complete works as reissued by Document in the '90s. arwulf arwulf
Tracklist :
1.        Army Bound Blues    2:50
2.        Sing Sing Blues    2:38
3.        Kentland Blues    2:31
4.        Lazy Woman Blues    2:52
5.        See My Grieve Blues    2:46
6.        Wintertime Blues    2:24
7.        Another Big Leg Woman    2:55
8.        Greyhound Blues    2:48
9.        Changing Blues    2:58
10.        Jungle Man Blues    2:55
11.        Hard Way To Go    2:52
12.        New So Much Trouble    2:43
13.        Mean Devil Blues    2:18
14.        Stony Lonesome Graveyard    2:56
15.        Cheatin' Blues    2:55
16.        Bloody Eyed Woman    2:25
17.        Bachelor Man Blues    2:23
18.        Evil Yalla Woman    2:25
19.        It's Too Late Now    2:32
20.        Sweet Woman Blues    3:03
21.        Triflin' Woman Blues    2:20
22.        Rainy Morning    3:04
23.        Fairy Tale Blues    2:44
Credits : 
Bass – Unknown Artist (tracks: 1 to 21, 23)
Compiled By, Producer – Johnny Parth
Liner Notes [Booklet Notes] – Pen Bogert
Piano – Honey Hill
Remastered By – Gerhard Wessely
Vocals, Guitar – Bill Gaither

BILL GAITHER — Complete Recorded Works In Chronological Order Volume 5 · 1940-1941 | DOCD-5255 (1994) RM | FLAC (tracks+.cue), lossless

In 1940, blues guitarist Bill Gaither left Indianapolis and took himself back to Louisville, KY where he opened a music shop called Donald Duck Records out of which he ran a radio and jukebox repair service. He also ceased recording for the Decca label (for which he'd waxed about 90 sides beginning in 1935), crossing over to Okeh along with his buddy Big Bill Broonzy. This is the best explanation for why long, lanky Gaither suddenly began identifying himself as Little Bill Gaither -- out of deference to Big Bill. When he switched from Decca to Okeh, Gaither also stopped billing himself as Leroy's Buddy, a reference to his friendship with blues piano legend Leroy Carr. With the exception of an errant alternate take of "Rocky Mountain Blues," which appeared on the blues collection Too Late, Too Late, Vol.13, the fifth and final volume of Gaither's complete works as reissued by Document during the '90s, contains all of his remaining material, consisting of 26 recordings made for Okeh in the months immediately preceding the U.S. entry into WWII. The first eight titles were made on June 12, 1940 with pianist Joshua Altheimer and a string bassist whose name is now forgotten. In addition to several of his customarily bitchy tunes about soured interpersonal relationships (the most poignant example being "Money Kills Love"), Gaither tossed off a rocking boogie-woogie with boisterous lyrics entitled "Georgia Barrel House," a reverent tribute to his late friend Leroy Carr, and "Wandering Rosa Lee," a rare instance of Gaither expressing happiness in a love song. Rose Lee was a woman he'd met briefly in Louisville and had spent six years pining over and singing about. On January 24, 1941 Gaither cut another ten sides for Okeh, this time with pianist Leonard Caston (billed as Baby Doo) and another (or the same) unnamed bassist. Personnel listings for the last eight titles on this collection (which turned out to be Gaither's final recordings) mention pianist Blind John Davis and posit Jesse Ellery as the guitarist rather than Gaither. Louisville historian Pen Bogert notes the influence of Peetie Wheatstraw on Gaither during "Moonshine by the Keg," and the visceral immediacy inherent in his cover of Big Maceo's "Worried Life Blues," which was backed with a heartfelt tribute to New Orleans (and its hookers) in "Creole Queen." These selections were the product of a session that took place on November 28, 1941 nine days before Japanese fighter planes attacked Pearl Harbor on the Hawaiian island of Oahu. Gaither received his conscription notice in 1942 and became a member of the African American 1st Battalion of the 24th Infantry Regiment, serving at first mainly as an electrician and radio repairman. When the racially segregated United States Army put Gaither's combat-ready unit to work in Guadalcanal, it was as manual laborers who did nothing more complicated or heroic than unloading freight. They were sent to Bougainville in the Solomon Islands in January 1944, first as stevedores and then as the first all-black infantry patrol to see active service in WWII. Pinned behind enemy lines, Gaither's unit battled their way through tropical undergrowth and across a river to relative safety. Soon afterwards, they were assigned to the island of Saipan where they engaged in the unenviable task of seeking out and apprehending Japanese soldiers who had yet to surrender. Although Gaither and the other survivors received the Combat Infantryman Badge, he came home completely transformed by his wartime experiences, encumbered by a nervous condition that caused him to abandon music altogether. His story ends ingloriously with a remarriage, a return to Indianapolis in 1948, and years of innocuous employment as a maintenance worker and cafeteria busboy. Gaither passed away in Indianapolis on October 27, 1970 and is buried in New Crown Cemetery not far from the graves of Yank Rachell, Wes Montgomery, Scrapper Blackwell, and Leroy Carr. arwulf arwulf
Tracklist :
1.        Tired Of Your Trifling Ways    2:42
2.        Life Of Leroy Carr    2:47
3.        Love Crying Blues    2:59
4.        Love Trifling Blues    2:53
5.        Georgia Barrel House    2:27
6.        Wandering Rosa Lee    2:53
7.        Money Kills Love    2:50
8.        It's Just A Woman's Way    2:52
9.        A Short Cut To The Grave    2:46
10.        I'm Behind The 8 Ball Now    2:33
11.        Moonshine By The Keg    2:45
12.        Why Is My Baby So Nice To Me    2:41
13.        Uncle Sam Called The Roll    2:39
14.        I Got So Many Women    2:42
15.        I Can Drink Muddy Water    2:35
16.        You Done Ranked Yourself With Me    2:38
17.        1941 Blues    2:42
18.        Jealous Woman Blues    2:43
19.        That Will Never Do    2:54
20.        Please Baby    2:40
21.        It's A Sad Story    2:53
22.        Old Rainy Day Blues    2:57
23.        Why Do You Tease Me So?    2:52
24.        Worried Life Blues    2:41
25.        Bad Luck Child's Bequest    3:00
26.        Creole Queen    2:51
Credits : 
Bass – Unknown Artist
Compilation Producer – Johnny Parth
Guitar [Poss./Or] – Bill Gaither (tracks: 19 to 26), Jessie Ellery (tracks: 19 to 26)
Guitar [Prob.] – Bill Gaither (tracks: 1 to 18)
Liner Notes – Pen Bogert
Piano – Baby Doo (Leonard Caston) (tracks: 9 to 18), Blind John Davis (tracks: 19 to 26)
Piano [Prob./Or] – Blind John Davis (tracks: 1 to 8), Joshua Altheimer (tracks: 1 to 8)
Remastered By – Gerhard Wessely
Vocals – Bill Gaither

3.3.26

LEDBELLY — Complete Recorded Works In Chronological Order Volume 1 · 1939-1940 | DOCD-5226 (1994) RM | FLAC (tracks+.cue), lossless

The Austrian Document Records label begins its series of CDs presenting Leadbelly's commercial recordings in chronological order from 1939, although annotator Ken Romanowski acknowledges that the singer "had recorded a combined total of well over two hundred titles" prior to that date, tracks made either for the Library of Congress or ARC Records under the auspices of John Lomax. Still, most of those tracks had not been issued, and, contrarily, most became readily available later on either Elektra or Columbia Records. Two exceptions are 1935 alternate takes of "Daddy I'm Coming Back to You" (take three) and "Shorty George" (take two), which lead this album off as bonus tracks. Otherwise, the remaining 23 tracks comprise two sets of sessions from 1939 and 1940, first a bunch of recordings Leadbelly made as a solo performer for Musicraft Records, which issued them as an album called Negro Sinful Tunes, and second the first group of tracks for RCA Victor, some featuring the Golden Gate Quartet, and issued either on the album The Midnight Special and Other Prison Songs or on singles on the discount-priced Bluebird Records subsidiary. Many of Leadbelly's better-known songs are included in these sessions, among them "The Bourgeois Blues," "The Boll Weevil," "The Gallis Pole," "Pick a Bale of Cotton," "Midnight Special," "Alabama Bound," "Rock Island Line," and "Good Morning Blues." The singer is in prime shape, and his guitar playing is typically forceful. The tracks have been transferred from old vinyl discs, with hiss and crackles audible throughout, but the sound quality is generally good. William Ruhlmann
Tracklist :
– BONUS TRACKS – Alternate Takes (1935)    
1. Daddy I'm Coming Back To You (Take 3)    2:56
2. Shorty George (Take 2)    3:02
        -    
3. Fannin Street    2:36
4. Frankie And Albert - First Half    2:49
5. Frankie And Albert - Completion    3:04
6. De Kalb Blues    2:49
7. Looky Looky Yonder / Black Betty / Yellow Women's Door Bells (On A Monday)    2:57
8. The Bourgeois Blues    3:12
9. Poor Howard / Green Corn    3:09
10. The Boll Weevil    3:04
11. The Gallis Pole    2:59
12. Ain't Goin' Down To The Well No Mo' / Go Down Old Hannah    3:13
13. Pick A Bale Of Cotton    3:00
14. Whoa Back, Buck    3:05
15. Midnight Special    3:03
16. Alabama Bound    3:03
17. Rock Island Line    2:35
18. Good Morning Blues    2:51
19. Leaving Blues    3:02
20. T. B. Blues    3:07
21.  Red Cross Store Blues    3:05
22.  Sail On, Little Girl, Sail On    3:14
23.  Roberta    2:59
24.  Alberta    3:08
25.   I'm On My Last Go Round    3:09
Credits : 
Compiled By, Producer – Johnny Parth
Guitar – Leadbelly (tracks: 1 to 6, 8 to 11, 13 to 16, 18 to 25)
Liner Notes – Ken Romanowski
Remastered By – Gerhard Wessely
Tap Dance – Leadbelly (tracks: 9)
Vocals – Henry Owens (tracks: 13 to 17), Leadbelly, Arlandus Wilson (tracks: 13 to 17), William Langford (tracks: 13 to 17), Willis Johnson (tracks: 13 to 17)
Vocals [Vocal Quartet] – The Golden Gate Quartet (tracks: 13 to 17)

LEDBELLY — Complete Recorded Works In Chronological Order Volume 2 · 1940-1943 | DOCD-5227 (1994) RM | FLAC (tracks+.cue), lossless

The Austrian Document Records label continues its series of CDs presenting Leadbelly's commercial recordings in chronological order from 1939 with this second volume, which picks up with the second day of the singer's two days of sessions for RCA Victor Records in June 1940, some of the tracks featuring the Golden Gate Quartet, material issued either on the album The Midnight Special and Other Prison Songs or on singles on the discount-priced Bluebird Records subsidiary. These recordings (tracks one through ten) marked the end of Leadbelly's work for major record labels for the time being. His next, far more informal, commercial sessions were made for the tiny Asch Records label run by Moses Asch (later the founder of Folkways Records) and initially issued on the Asch albums Play Parties in Song and Dance as Sung by Lead Belly; Work Songs of the U.S.A. Sung by Leadbelly; Leadbelly & His Guitar; and Songs by Lead Belly. (Leadbelly also made many recordings for the Library of Congress [issued separately by Document] and airchecks during this period that do not fit into the series' concept of commercial recordings and thus are not included.) Many of Leadbelly's better-known songs are included in these sessions, among them "Easy Rider," "Grey Goose," "Stew Ball," "Skip to My Lou," "Rock Island Line," and "John Henry" (the last featuring Sonny Terry on harmonica). Particularly notable are two 1943 takes of "(Good Night) Irene," a song that would be popularized by the Weavers shortly after Leadbelly's death in 1949. The singer is in prime shape; his guitar playing is typically forceful, and he even plays concertina on some songs. The tracks have been transferred from old vinyl discs, with hiss and crackles audible throughout (and even, in the case of some of the Asch tracks, skips), but the sound quality is generally fair. William Ruhlmann
Tracklist :
1.        Easy Rider    3:10
2.        New York City    3:00
3.        Worried Blues    3:08
4.        Don't You Love Your Daddy No More?    3:03
5.        You Can't Lose-A Me Cholly    3:03
6.        Grey Goose    3:01
7.        Stew Ball    2:58
8.        Take This Hammer    2:59
9.        Can't You Line 'Em    2:55
10.        Ham An' Eggs    2:55
11.        Ha Ha Thisaway    2:38
12.        Little Sally Walker    2:41
13.        Redbird    2:41
14.        Christmas Song    2:41
15.        Skip To My Lou    2:21
16.        You Can't Lose Me Cholly    2:32
17.        Take This Hammer    2:13
18.        Haul Away, Joe    2:12
19.        Rock Island Line    2:04
20.        Ol' Riley    2:31
21.        Corn Bread Rough    2:04
22.        Old Man    2:30
23.        On A Monday    1:46
24.        John Henry    2:14
25.        How Long    2:10
26.        (Good Night) Irene (Tk. 1)    2:21
27.        (Good Night) Irene    2:36
28.        Ain't You Glad    2:01
29.        Good Morning Blues    2:23
Credits : 
Accordion [Button Accordion] – Leadbelly (tracks: 21)
Compiled By, Producer – Johnny Parth
Guitar – Leadbelly (tracks: 1 to 5, 7, 11 to 20, 22 to 29)
Harmonica – Sonny Terry (tracks: 23 to 26, 28, 29)
Liner Notes – Ken Romanowski
Remastered By – Gerhard Wessely
Vocals – Leadbelly, The Golden Gate Quartet (tracks: 6 to 10)

JEFF BECK — Wired (1976-2013) RM | Blu-spec CD2 | Serie Legacy Recordings | Two Version | FLAC (image+.tracks+.cue), lossless

Released in 1976, Jeff Beck's Wired contains some of the best jazz-rock fusion of the period. Wired is generally more muscular, albeit l...