No Sound is Too Taboo
Verve Forecast 3145267222 Pop/Jazz
will come as a great surprise to many of our readers who think of
us as stuck in a fancier version of the past, unable to cope with
the harsher version of modern reality, but there is a whole new
movement of modern music that we fancy. Originally this music was
called acid jazz and that term seems to work for lack of a better
moniker but it's not acidic and it's only jazzy, not jazz. More
often, it's interesting pop music that has influences in jazz, world
beat and the funk of the 1970s.
best of this breed (and we will keep you posted when the right name
comes along) is United Future Organization. They are slick and well-
produced, but they have a biting sense of humor and a firm grasp
of their outside influences, which are many.
Massive Attack with a keener wit, UFO is all over the map, with
a special affection for Brazilian rhythms. Other tracks cover hip-hop,
Middle Eastern wails and nearly straight-ahead jazz. All of the
tracks are at least interesting and very often they strike a musical
chord that is so satisfying you have to question a music industry
that values Mariah Carey over this. What's the big deal? This music
is just as accessible and twice the fun!
us the highlight of this album is the closing track, Tears of
Gratitude. A strong yet understated Brazilian beat is the backdrop
to a large Protestant chorus singing a moving wordless vocal. On
the one hand, it's done very tongue in cheek and on the other, it's
incredibly moving. The only quibble is that there is a faint sound
of a record's surface noise with a needle in a groove, á la Arrested
Development. Isn't this the most tired effect by now? Stop it this
originally appeared May 1995
Atlantic 781783-2 Vocals
Sullivan for years was known mainly as the gal that made Loch Lomand
swing and it's unfortunate that she didn't receive wider recognition.
In fact, her talent grew as she aged and she became a very interesting
singer. Usually this praise would mean that she lost her voice,
but Maxine Sullivan sounded swell right up to the end of her life.
is a tribute to the music of Jule Styne and for our money, it represents
the very best of classic American singing. It's straightforward,
jazzy and unaffected. We'd have to say that Styne is probably the
most "unrecognized" songwriter of the century, followed
by Harold Arlen. Most everyone can name a song by Cole Porter, the
Gershwin Brothers or Richard Rogers but mention Styne and you'd
be lucky to get the recognition for writing Funny Girl (which,
incidentally, is not represented here). In addition to Funny
Girl, he scored Bells Are Ringing, Gentlemen Prefer Blondes
(although the film version had additional songs by Hoagy Carmichael)
and Gypsy. He also wrote many good popular songs. Together,
with its 16 tracks, is nowhere near complete but it showcases a
good cross section of Styne's work.
backup is by the very capable Keith Ingham Sextet. They are unobtrusive
to the melodies, compliment Sullivan's singing style and shy away
from nostalgia, except for the rare Dixieland riff here and there.
trying to understand why this collection works so well when a similar
date by someone like Rosemary Clooney or Tony Bennett would be pleasant
but ultimately put us to sleep. Great singers seem to get to a certain
age and the singing becomes effortless and they just open their
mouths to produce good music. Perhaps after years of this the edge
becomes not so sharp, especially if one is successful. Rosemary
Clooney and Tony Bennett could make good albums, they just don't.
Clooney tends to sound as if she just rolled out of bed to make
a recording date while Bennett is sounding more and more like a
high school drama student in order to cover up the notes he can't
quite make anymore. Maxine Sullivan has neither problem. Perhaps
she wasn't as familiar with the songs because each song gets a real
reading as if being sung for the first time. There's no coasting
highlights would include Time After Time, which is taken
at a dangerously slow pace but succeeds anyway, in part to a Ben
Webster-inspired sax solo. Distant Melody from Peter Pan
(with lyrics by Comden and Green) becomes a lullaby for adults while
It's Been a Long, Long Time goes from being a World War II
anthem to celebrating the breaking of a sexual fast. It's all very
intelligent, adult and clever. The finest moment has to be Killing
Time, written relatively recently with Carolyn Leigh. We can't
imagine any of Sullivan's contemporaries doing this very moving
are two weak numbers. Saturday Night (Is The Loneliest Night
of The Week) is so tied to Sinatra that this lackluster arrangement
does little to cut the cord. Dance Only With Me has the only
arrangement that dates this 1987 release. It features a bogus Bossa
Nova that belongs on Fantasy Island, not here.
release was out of circulation recently but now seems to be back.
If you spot it, grab it. Otherwise have your music agent order you
Mambo Mania!: The Kings and Queens of Mambo
Rhino R271881 Latin
have to laugh just a little now that the world seems to have discovered
Latin music. Where was everybody when we were screaming from the
rooftops about this great music? The danger is now that this music
is "valid", everyone wants to get their two cents in.
The positive side is that lots of great tracks that were long out
of print are now coming out on compact disc. This Rhino collection,
Mambo Mania! is a nice overview of some vintage Latin music
but there are problems.
us the biggest disappointment is that almost all of this material
is available elsewhere on CD so the only interest is having these
tracks all in one convenient place. Big deal! The one piece that
is new to us is Desi Arnaz singing Un Poquito de Tu Amor with
a small percussive combo rather than a band and it's a sweet little
number, but hardly a mambo.
the well-written booklet, the author describes how the word mambo
erroneously became "the umbrella term for dance music that
had different styles. The son montuno, the guaracha, and the guajira
had their own individual expression, but by the end of the '50s
they were all identified in the U.S. as either mambos (or as) the
cha cha cha". This may have been true for non-Latins but mamberos
and mamberas certainly knew what a mambo was and today we do, too.
So why the odd programming that perpetuates the wrong information?
The weirdest choices of all are La India de Oriente singing a countrified
son (from 1980) and Ray Barretto's take on the charanga craze of
defense of the CD, the sound is justifiably bad. A trend in re-issues,
Latin in particular, is to clean and improve the vintage sound.
Unfortunately this often means muffling up the scratches. Recording
large mambo bands was hard enough but adding our "improved"
recording techniques makes for a difficult listen. Mambo Mania!
final gripe with Rhino records in particular: Why do you always
have to justify your subjects in relation to rock and roll? The
liner notes suggest Mambo is only valid because a generation that
later made rock popular listened to it. Their Louis Prima collection
suggests that we owe a listen to Louis because he was the bridge
between rhythm and blues, and rock. We know from the generally fine
programming that Rhino doesn't really believe this and we find it
insulting that the listener is treated like a half wit. Besides,
soon they'll have to start justifying rock and roll to a new grungey
hip-hop public. On all counts, we think an explanation is owed the
other way around.
you're interested in the Mambo, we suggest you pick a vintage Machito
like Dance Date with Machito, a 1950s Tito Puente title like
Cuando Suenen Los Tambores on RCA and the very great jazz
compilation from Verve, The Original Mambo Kings- An Introduction
Verve 3145264402 Vocals
a man! Billy Eckstine is not for the faint of heart with his completely
over-the-top bigger-than-life voice. We've mentioned him before
in these pages but this new reissue is so great we couldn't pass
up the recommendation.
the no-holds-barred tango version of The Boulevard of Broken
Dreams on, Eckstine comes on full force. Young ears making the
transition from grunge to music in the MrLucky manner will not want
to start here. It's just too wonderful.
do have to admit that, depending on one's mood, Billy can be a bit
much, but when the timing is right there simply is nobody better.
the treats here are Richard Roger's neglected Nobody's Heart,
Harold Arlen's When the Sun Comes Out, the old chestnut Trust
in Me and the previously mentioned The Boulevard of Broken
Dreams. You will wonder how someone hip enough to be buddies
with Bird, Diz and everyone else in the Bebop kingdom could sing
so beautifully without much humor or irony and still not be sappy,
but that's the Billy Eckstine miracle.
DRG 12605 Soundtracks
recently rented the videocassette of the sweet but ultimately boring
film, Danzon. It's thin plot is about a woman who takes a
trip to Veracruz to search for her missing dance partner. There
are however many nice moments and the heart of the film is the music.
in the states we think of the Danzon as Cuban but the Mexicans apparently
love it and think of it as part of their culture as well. Since
the opening song on the disc is Lagrimas Negras, one of the most
important Cuban numbers ever written, we get the sense that the
relationship between Mexican and Cuban Danzon is like the relationship
between pomme frites and french fries. They're both fried potatoes
but they're also worlds apart.
three quarters through a Danzon, the band usually cuts loose and
that's when we really get interested. Judging from the dancing in
this movie, these Mexicans don't feel the same abandon. Their Danzon
is a very formal ballroom dance all the way through.
soundtrack CD contains the best music from the movie, in particular
the really fine Viajera by Luis Arcaraz y Su Orchesta, sounding
very much like Italy's Natalino Otto. We're also nuts for Amar
Y Vivir by Julio Jaramillo. Most of the rest of the disc is
Mexican Danzon which we love for its oddness. These sound like field
recordings, with an occasional sour note and free for all conducting,
the perfect accompaniment to a dinner al fresco or a really kinky
Savoy SV0170 Jazz
bugs us more than when someone asks, "What's the absolute best
Salsa record to get?" or "If I'm only going to get one
jazz record, which one should it be?". Whatever the motivation,
the we perceive the question to be "Save me a lot of work and
just tell me what to buy and I better love it to death or I'll lose
total respect for you". You'd be surprised how many times similar
questions cross our path. Being the happy carefree optimist so many
of you know and love, we're going to now assume the meaning of the
question is "I have no clue in regards to (fill in the blank).
MrLucky, can you start my appreciation of (fill in the blank) by
suggesting a title I might enjoy quite a lot? In fact a title that
will cause so much merriment and joy that I'll perhaps be inspired
to buy more titles by (fill in the blank)".
Gillespie's The Champ is a good starting point for appreciating
on e of America's greatest treasures.
lack of good Dizzy Gillespie recordings available is a national
embarrassment. Since his death, the situation is a bit better but
on the whole there's much work to do. Part of the problem is that
Diz was a real chameleon so having just a small part of his catalogue
available distorts the picture.
Dizzy's Diamonds is a fair overview of the later Verve and
Polygram years but it seems like a teaser of what should be available
instead of a decent retrospective. In the end it leaves one wanting
a lot more. It also feels very disjointed despite the fact that
the three discs are separated into three groups: small bands, big
band and Latin.
you're after early Afro-Cubop Diz, there's RCA's The Bebop Revolution
which features 10 tracks from the historic Dizzy Gillespie Orchestra
featuring Cuban legend Chano Pozo. If you have any doubts about
Dizzy's influence on popular music, not just jazz, over the next
thirty years, give these recordings a listen.
a nice introduction to Dizzy Gillespie just playing and arranging,
we like Savoy's The Champ. It's not an "important"
work but it's very representative of a certain swinging period in
his life and as an album it holds its own. many of the tunes have
minimal quirky arrangements, almost like late 1950s English comedy
soundtracks. Every time we hear a new version of Tin Tin Deo
we think it's the best and this one falls in that category. There
are a few vocals from Joe Carrol and even Stuff Smith's violin,
proving the point that Dizzy couldn't easily be pigeonholed.
Spotlight On...Keely Smith
Capitol CDP 0777778032724 Vocals
is a God!
time readers of MrLucky will understand how we tend to go off the
deep end when it comes to Keely Smith. Long considered only Louis
Prima's sidekick, she is in her own right one of the best singers
of her generation. Great voice, great phrasing and a sense of humor.
very recently, her in-print catalogue has included her work with
Louis and some mediocre work available on the Jasmine label. Her
best stuff was on Capitol when she worked with arrangers Billy May
and Nelson Riddle. There's an English Capitol release called The
Best of Keely Smith, which contains Politely (with May)
and I Wish You Love (with Riddle). Unreleased (except as
part of a very expensive box set of Louis Prima work) is her Riddle
collaboration Swingin' Pretty. Fortunately, the best of all
these albums really is collected here on Spotlight on Keely Smith.
Magic is the perfect example of why Keely is so great. The first
go round, Keely sings this old Doris Day chestnut straight and sweet
in a classic fifties style. Then it's almost as if Doris has left
the room and Keely and the boys let it rip and sing a very swinging
round of the same song. Finally, teacher returns and it's back to
slow and steady but that's O.K. because we're pretty much wowed
by what Keely just did with the song.
highlights are too numerous to mention. We love There Will Never
Be Another You from Swingin' Pretty. Keely starts with
just the accompaniment of the bass but is quickly answered with
the entire orchestra. In fact, the song is almost entirely a call
and response between Keely and the band. Stardust is pretty
high up on the list of songs we've heard one too many times but
after a straight verse, Keely and Nelson Riddle change tempos, feelings
and keys enough to keep us more than interested. Lullaby of The
Leaves is a gorgeous tribute to her Southern roots and this
version of Sunny Side of the Street is a real flag-waver.
could quibble with the tracks not included. When Day is Done
from I Wish You Love is brilliant and Keely's interpretation
of All The Way rivals Sinatra's. Why the soppy Mister
Wonderful and Don't Take Your Love From Me are included,
we don't know except Keely, as always, is in fine voice.
won't apologize for being so gung ho on Keely Smith, but you should
keep in mind our admiration borders on the irrational. Even still,
we don't see how any fan of classic American popular music can live
without this collection.
plays regularly in Las Vegas at the Desert Inn, as part of an act
with Sam Butera. Sam, of course, played sax with Prima in their
1950s heyday, but now mimics Prima to the point of being almost
creepy. Keely still has a gorgeous voice. In fact, it's so good
it's almost spooky. What kind of vitamins does this gal take?
Discotheque des Halles DH002CD France
when we were in our teens, we decided to go to a real bar and see
what all the fuss was about. The only drink we knew we liked was
a Harvey Wallbanger, a sweet Galliano based drink popular among
youth and secretaries in the 1970s. We also knew we'd be thrown
out of the bar if we ordered such a drink. We had bad youthful taste
but we were savvy! When the bartender asked what we'd like, we lowered
our voice a notch or two and said, "Scotch and soda".
As he prepared our highball, we laughed quietly to ourselves, for
we had sure pulled one over on the bartender. It turns out that
we didn't laugh for long. To our pubescent palate, Scotch tasted
like Mother's nail polish remover. It was even more shocking than
the time our dear Pater explained the birds and bees to us, even
if the effect was the same: If this is what it means to be a grown
up, no thanks!
have run their course and the birds, bees and scotch are all a happy
part of the Big Picture, as we see it. So is accordion music. At
first it was ponderous, dull and a bit too Eastern European for
our fancy tastes. Then we discovered the Tango. This led to gypsy
orchestras and now we are free from any accordion phobias. In fact,
there is no more pleasant music on earth for preparing dinner or
driving through the countryside.
first listening, there might be a sameness but you soon realize
that this is just not the case. The accordion can be a swinger,
a waltzer or even a murderer. It's an orchestra in a box and the
sound depends on the conductor.
French collection has not left our CD player since it arrived home.
As the title suggests, all styles from the early part of the century
through World War II are covered. It would seem the accordion would
have one last hurrah in the 1950s when George Shearing used a Bebop
accordionist on a few of his early sides, and then not much interest
until the early 1980s Tango revival. There aren't many vocals on
this set, except for the first version of Edith Piaf's L'accordeonista,
and that's just fine since it allows the accordion to take center
Whether you like Scotch- or Galliano-based cocktails, you owe it
to yourself to give this loopy music a go and we can't think of
any better place to start than here.
The Music from
RCA 1956-2R Soundtracks
there ever a better recording ever made in the entire history of
While you most definitely are overly familiar with the title melody,
there's the slight chance you've never heard the infinitely
hipper companion pieces on this amazing album. They range from breezy
bachelor make-out music to finger popping anthems suitable for grocery
shopping, convertible driving and high speed chases.
of the numbers is "jazzy" and reportedly performed by
L.A.'s top jazz musicians of the West Coast Jazz school. Henry Mancini
wrote some of the most moving songs of the post Tin Pan Alley era
but his arrangements often were too sweet or cheesy. The title song
from the other great TV series, Mr. Lucky (the copycat!),
is gorgeous but is marred by a roller rink organ and lush strings.
It's Vince Guaraldi's version that gave the great melody it's place
in the sun. Peter Gunn has great melodies and arrangements
on every track. It's a winner all the way.
advice is run down to your music seller, put a copy on the hi-fi,
fire up the BBQ and have a painfully cold martini while you
wait for the coals. We believe this is what Spaulding Gray refers
to as a Perfect Moment.
The Best of Rene Touzet
GNP/Crescendo GNPD 2000 Latin
didn't want to make this number of MrLucky quite so Latin-heavy
but when we heard this re-issue we had to pass on the good news.
This is a collection of various cuts from twelve of Gene Norman's
Crescendo releases and it's a real hoot.
hasn't been kind to Rene Touzet (pronounced "too-zette",
not "too-zay" by the way). He's become a footnote
in the story of Latin music and this is a crime! His piano playing
was very elegant and while his arrangements used authentic
Afro-Caribbean beats and rhythms, his orchestrations were gorgeous
and grand rather than manic and wild. This is not to say he was
laid back, watered down or not interesting. His version of
Siboney (originally from the Lp Too Much) is typical
of his technique with an arrangement. It starts out with the
rhythm at a steady pace and then Touzet enters on the piano
and plays the song straight through once. The recording is rich
and Touzet sticks fairly close to the melody. On the next
go round he lets loose and gives up the elegance and plays
vamps and bounces off the bongos, always with a sense of cool detached
really love El Cid at top volume. It's pretty camp and you
can imagine a toreador night club routine but it also swings.
The trumpet solos by Tony Terran are just great. The sound quality,
like most Crescendo recordings, is top notch for the era.
oversight is the lack of anything from the Lp The Charm of the
Cha Cha Cha, which featured great covers of The Peanut
Vendor and Malaguena, but with 12 albums in his catalogue, narrowing
down the selections would be a real task.
We are happy to report that Mr. Touzet is thriving in sunny Florida.
The Complete Decca Masters (Plus)
MCA MCAD4-11059 Vocals
like seeing old Judy Garland movies on TV and so far that's been
about it. We'd hoped last year's release of London Sessions
from the 1950s would help us to understand her appeal but
it didn't. We almost always find her amped up emotional overdrive
style too far over the top to be really musical. So it's a
mighty big surprise to discover how much we've enjoyed hearing The
Complete Decca Masters these days.
first track, Stompin' At The Savoy was recorded when Garland
was only thirteen years old. It's kind of scary hearing this adult
voice singing about lips and loving in such a mature way but
it's also impressive. The next track, Swing Mr. Charlie is
even wilder and we much of the rest of this collection often continues
in this upward direction.
early tracks are so good because the orchestrations are excellent
and Garland was really a singer. This version of Over The
Rainbow is actually refreshing because it's sung very straightforward
and sincerely, not like the dirge or anthem it would later become.
Harold Arlen's Buds Won't Bud, Mickey Rooney's Oceans
Apart and Noel Coward's Poor Little Rich Girl are all
news isn't all good. Garland learned early on how to please the
adults and it's nauseating hearing her play innocent on Sweet
Sixteen or turn green on It's A Great Day For The Irish.
all of the Vaudeville tributes are barely tolerable in the movies
but here you'll head right for the forward button on your
CD player. By the third CD of the set, the first signs of stress
show and she falls back on shtick a little too often. On the fourth
CD a set of duets with a piano should be arresting, frank
and honest but end up almost pathetic as her voice and focus falter,
particularly on Falling In Love With Love.
there are great moments here and it's its nice to discover why everyone
else is so nuts for Judy Garland.
Siboney: Lo Mejor de Xiomara Alfaro, Vol.1
RCA 74321-17721-2 Latin
the big surprise releases this month is this collection from the
excellent RCA Tropical Series. We knew nothing of Alfaro except
an occasional vague reference in articles on Cuban music. What a
shock to hear this really weird and wonderful voice that sounds
like Indian film queen Lata Mashankar singing traditional Latin
boleros in an upper register.
sings high and we imagine this might be irritating if it were just
playing on in the backround but the vocals are so arresting that
it would be nearly impossible not to give her your full attention.
arrangements are good (including several by Chico O'Farril) and
we imagine this is what chic Latins listened to in the early 1960s.
Voices of Cool: Atlantic Jazz Vocals, Vols.1 & 2
Rhino/Atlantic R271748 Vocals
we see one more stinking Cole Porter tribute we will scream and
throw a tantrum. Yes, the Gershwin brothers wrote quite an
impressive number of fine songs but honestly, so did Harold Arlen,
Harry Warren and Johnny Green. Does the fact that Jon Bon Jovi is
able to pronounce all of the words to a Gershwin standard
earn him the right to record these words on an "all star"
tribute? How are we to react when a writer on CompuServe claims
Barry Manilow's new Big Band tribute is "absolutely authentic"
and goes unchallenged by anyone else? Mediocrity is overtaking us,
dear readers! Singers of average talent are taking over and
claiming the Great American Songbook as their own! They must
Before Harry Connick, Jr., Cher, Jon Bon Jovi, Toni Tennile or Sinead
O'Connor commit another act of clueless desperation by performing
a song with more than three chords, they should be required
to listen to these two fine volumes of real musical Americana.
On the whole, these fine singers are the B list in comparison with
Frank, Ella, Sarah or Mel in terms of success but hardly in
talent. The songs are a great mix of standards and unknown gems
that are refreshing to hear after the countless Porter and Gershwin
collections we've been exposed to these last years. Quite a few
of the tracks are absolutely great. Each and every one is the
essence of "cool" and musical at the same time.
standouts are many. Ray Charles' When Your Lover Has Gone
cuts straight to the point. Mel Torme with the Raelettes performing
Comin' Home Baby is a must-have that almost out-cools Cy
Coleman's version of the same song. Bobby Troup's The Meaning
of the Blues by Carmen McCrae will make you wonder why the Manhattan
Transfer's Janis Seigel even bothered a few years back. Bobby Darin's
All Night Long is not about getting a good night's sleep.
38 tracks, you're likely to go off course. Two Bessie Smith numbers
are done by LaVern Baker and Nancy Harrow and while they're
not bad, they don't excite like the rest of the pieces do.
We've always found Jackie and Roy kind of icky and they seem just
that to us here, but they have had a tremendous career and
are well respected among jazz folks so we're willing to let
are neglecting many things here but it would be redundant to go
on and on. We will say that there's a fascinating song with
the Modern Jazz Quartet and Dihann Carroll that makes us really
mad. She's so talented and has a superior voice and yet where are
her discs in print? Perhaps she's chosen the Vegas life over
Basin Street or maybe the record companies don't care. Either
way, it's a waste of a fine set of pipes.
as an added treat we have liner notes by the wise and witty Will
Freidwald who sheds light on each of the tracks. All this
and heaven, too!
From Broadway to Bebop
Concord Jazz CCD 4615 Vocals
quote Ira Gershwin: "How long has this been going on?"
new female vocalists have left us cold or burned us. Nnenah Freelon
commands minimal interest, Dianne Reeves went off the deep end and
Anita Baker is strictly a one trick pony. Without a doubt, Susannah
McCorckle is Best of Show. She has a wonderful rich husky voice
that can hit the notes and sound intelligent as well. She
would probably hate the comparison to Joannie Sommers but
it's almost as if Sommers grew up and became hip. Sommers still
sings (and often well) but she hasn't an iota of the musical
imagination of McCorkle.
is our first McCorkle album but we doubt we've lucked out on a good
one. The hip opener is Frank Loesser's Guys and Dolls with
the Guys part swung to a brassy arrangement while the Gals
part is taken at a slower vamp. That she can make these familiar
lyrics sound new is a real feat. Chica Chica Boom Chic from
the Carmen Miranda film That Night In Rio (which is brilliant,
by the by) is wisely sung straight because the lyrics are
nutty enough as it is. Recently Brazilian singers Marisa Monte
and Joyce have attempted and botched it, perhaps by being too close
to the source. The irony is that it was written by Gordon and Warren,
who also wrote You'll Never Know and The More I
See You. We also love My Buddy which is taken up
tempo instead of as a dirge.
need to nit pick just a bit. McCorkle can be a little too perky
and sometimes the song selection is odd. One of the Good
Girls must work in concert but is a yawn after the initial
hearing with its operatic narrative and slow pace. Once You've
Been In Love goes nowhere fast and we had a hard time
trying to follow the melody.
band is very tight and you imagine them applauding her after each
number. Everybody obviously enjoyed making this disc and it
shows. To say we're nuts for Susannah McCorkle would be an
Play the Original Little Rascals Music
Koch Screen 387022 Soundtracks
there ever been a more welcome new CD?
Beau Hunks Play the Original Little Rascals Music is a new recording
by a Dutch orchestra recreating note for note the original
orchestrations from the scores of the Little Rascals
(or Our Gang) film series from the 1930s. The performance
is absolutely faithful to the original recordings but never
sounds dull or museum-like. The Beau Hunks succeed where others
have failed because they avoid reverence and are obviously having
fun with all the great music composed by LeRoy Shield for
this amazing series of films.
music is surprisingly good and stands on its own, even without Buckwheat
and Darla. Only occasionally does it feel like incidental
or background music yet we defy you to find better background
music for your daily chores around the house. Dusting and cooking
are particularly good pastimes at our maison. Your mileage
for the immediately identifiable theme song, Good Old Days,
none of the individual titles sound familiar except in style.
This has led countless acquaintances to ask, "Just what
is this? It's great!" We have to agree and think you will as
recording is excellent and since this is a domestic release it shouldn't
prove too difficult to find. All we know is that we don't
wanna go to school today because we hear the new teacher Miss
Crabtree is a witch!
Wilson / Cannonball Adderly
Capitol CDP 78484552 Vocals / Jazz
a fine album this is! Before Nancy Wilson started relying on her
own vocal clichés to put over a song, she really was a bright
young thing on the music scene. Adderley plays it very straightfoward
here and he's the perfect compliment to Wilson. The song selection
is very clever. Frank Loesser's Never Will I Marry
makes much more sense in Wilson's capable hands than her colleague
version on The Third Album. She even swipes A Sleepin'
Bee away from Babs, giving it a lighter touch, which we think
Wynton Marsalis swiped for one of his Standard Time discs.
The only problem is that the disc is too brief and only six
of the tracks feature Wilson. Still, it makes for a great
Street Music, Vol.3
Tips TCCD-5221 India
now for something completely different...
is a wild recording of an Indian brass band. It is beyond weird
and we can't get enough of it. The drums are savage and the arrangements
vary between college marching band-type numbers and something that
is almost akin to Gnawa music. It is very original and disturbing.
If you're up for an adventure you should try it.
& his Orchestra
Tico SLP-CD 1148 Salsa
file this one under Classics! Like most anything Eddie Palmierei
ever does, Molasses explores new directions in Latin music
rather than rehash successful formulas. This recording, like
most good Latin discs, has little documentation and no original
issue date. We'd guess it's from about 1965 or so and you
can hear the Boogaloo coming just around the corner. Almost all
of the cuts are upbeat winners with the stress on Afro in Afro-Latin.
The only drag is Andre and Dory Previn's You're Gonna Here From
Me from the film Inside Daisy Clover. The bolero beat can't
help the trite lyrics and even hinders the melody, especially at
the awkward bridge.
Gorme & Trio Los Panchos
24 Grandes Canciones
Globo/Sony 81776/2-474188 Latin
ahead and laugh. We love most of this gooey treacle. Gorme has a
great voice and Los Panchos are the perfect combination-plate
Mexican restaurant trio. Some of these songs are classics
in the Latin American Songbook, including Sabor a Mi, Luna
Lunera and Piel Canela. Gorme's Spanish is flawless and
sterile (her father was Puerto Rican) and Los Panchos do their