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Genere: Rock

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Trama: It could have been that Sade (collectively, the vocalist Sade Adu and her band) would have remained the darlings solely of the British underground rare-groove scene, but their sound proved irresistible to the mainstream, and the rest is history. Caught at the beginning of her career in 1985, Sade's cool vocals and exotic looks grabbed everyone's attention. But equally as important to <I>Diamond Life</I>'s success was the velvet muscle of the band's accompaniment, a sinewy after hours groove, laden with minimalist funk. Eight of the nine tracks are self-penned. Straddling R&B and pop, this disc lays out the hooks and sultry allure that became Sade's soulful standard--intelligent and sexy at the same time. <I>--Derek Rath</I>

Genere: Jazz

Durata: 57:39

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Genere: R&B

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Trama: This music is so fiery that merely listening to will bring sweat to your brow. But the creators of such classics as "Soul Man" and "Hold On, I'm Coming" won't stand just for listening. The energy between Sam and Dave is infectious enough to propel you to your feet. Their harmonies are tight, echoed by thrilling horn riffs, bursts of guitar solos, and when it's all about to explode, they settle back with a ballad like "When Something Is Wrong with My Baby" that's every bit as moving as their uptempo tracks. This is what happens when church music goes clubbing. <I>--Robert Gordon</I>

Genere: Jazz

Durata: 52:42

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Trama: Conguero Poncho Sanchez is one of the movers and shakers in Latin jazz. But while growing up in the 1960s, he was obsessed with the classic Stax and Motown sounds, and this influence peeks out from time to time in his music. Never more so than on <I>Out Of Sight!</I>, which actually functions as a tribute to his hero James Brown. Here Sanchez makes it funky with such soulful luminaries as Billy Preston, Ray Charles (who sings his classic "Mary Ann"), Sam Moore (of Sam And Dave fame), and Brown alumni Fred Wesley and Pee Wee Ellis. Suffice it to say, Sanchez's band and guests dig a groove deep enough to make the Godfather proud. They don't rely on the hits either; instead, choosing some lesser-known 1960s boogaloo gems and Brown jams, as well as some groovy new originals. Sanchez is surprisingly impressive on vocals here, but it's the tight and funky Latin arrangements that make this so super bad. <I>--Tad Hendrickson</I>

Genere: Jazz

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Genere: Jazz

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Genere: Jazz

Durata: 64:17

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Genere: Jazz

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Genere: Classica

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Genere: Blues

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Trama: In 1959 producer Clyde Otis teamed his two favorite singers, the seasoned jazz star Dinah Washington and the young R&B crooner Brook Benton, in the studio and came up with two top-10 pop hits from the resulting album, <i>The Two of Us</i>. Washington is Diane Schuur's biggest hero, and the young jazz vocalist wanted to do her own version of <i>The Two of Us</i>. She found an unexpected but appropriate partner in B.B. King, who is best known for the blues, of course, but who also has experience with the kind of jazz, country, and R&B standards Schuur had in mind for the project. The result is <i>Heart to Heart</i>, a duet album that brings out the best of both singers. Schuur's tendency to oversing is held in check by the rootsy nature of the material and King's down-to-earth presence in the studio. And King gets a chance to stretch out beyond his usual repertoire and show how well he can croon on numbers like Irving Berlin's "I'm Putting All My Eggs in One Basket" and Harry Warren's "At Last." <i>--Geoffrey Himes</i>

Genere: Rock

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Genere: Jazz

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Trama: jazz

Genere: Jazz

Durata: 64:36

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Genere: Vocal Jazz

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Trama: All distance is relative, especially where geopolitical borders and ideologies are involved. We speak one language, they speak another. We follow our system, they follow theirs. When we focus on the differences, a relatively short stretch of land or water starts to look like a yawning chasm. But when we look at each other as individuals and focus on the similarities, that "chasm" is actually a very short distance. Less than a hundred miles. Musicians - especially jazz musicians, whose craft is in many ways an improvised form of communication - understand this principle inherently, perhaps better than any politician or diplomat could ever hope to. Vibraphonist Stefon Harris, saxophonist David Sánchez and trumpeter Christian Scott cross that divide in their new recording, "Ninety Miles".
Recorded entirely in Havana, Cuba, with the help of some highly talented Cuban players - pianists Rember Duharte and Harold López-Nussa, each leading their own quartets - the nine-song set is an experiment that examines the fascinating chemical reaction that takes place when musicians from different cultures come together and converse in a common language that transcends mere words. The set also includes a DVD that is a sneak peek of the forthcoming documentary of the same name that chronicles the recording process of the album in Cuba. It will also include two bonus live performances of "City Sunrise" and "La Fiesta Va."
"This record is about the power of music to communicate, and break down some of the barriers that result from language and politics and culture," says John Burk, Chief Creative Officer of Concord Music Group and producer of the album. He developed the idea for the project after experiencing first-hand the visceral energy exchange between artists and audiences at the Cuban Jazz Festival in 2008. After more than a year of negotiations with representatives of the Cuban music industry - not to mention clearing the various travel-related hurdles with the U.S. State Department and the Cuban government - Burk, along with co-producer Chris Dunn, booked Harris, Sánchez and Scott to perform in Havana in May 2010 with many of the same Cuban players he'd seen at the festival a couple years earlier. "Ninety Miles" is a snapshot of the rehearsals just prior to the 2010 performance.
The brilliance and innovation of "Ninety Miles" is only part of the story. The recording is also a clear statement about the power of music to unite in ways that politics and diplomacy can't. "The arts can lead the way, because they are the universal language," says Burk. "And music is certainly one of the most powerful forces within the arts. You can change someone's life in five minutes with the right piece of music. I don't know of any other art form that can do that. This record does illustrate a way - or at least the ability - for people to work together despite differences."

Genere: Jazz

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Trama: "Live at Newport" is the first ever live album and DVD from the critically acclaimed and Grammy-nominated trumpeter Christian Scott. Recorded on August 9, 2008 at the JVC Newport Jazz Festival in Newport, RI, "Live at Newport" features 8 tracks including five new songs and features a performance by Christian that echoes his musical hero Miles Davis who recorded his own Newport CD 50 years earlier. The accompanying DVD will feature Scott performing 7 of the 8 album tracks at the JVC Jazz Festival this past Summer and also includes an all access pass into Christian's rehearsals at Berklee School of Music in Boston just two days prior to the festival. You'll also get a chance to hear from Christian himself in exclusive interviews while preparing for the festival as well as some thoughts from him after the performance.

Genere: Jazz

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Genere: Rock

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Genere: Jazz

Durata: 61:46

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Genere: Country

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Genere: Country

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Genere: Country

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Trama: Billy Joe Shaver has never had a hit of his own, but he's written plenty of hits for others (John Anderson's "Old Chunk of Coal," Tom T. Hall's "Old Five and Dimers," Bobby Bare's "Ride Me Down Easy"), and he's credited for launching the "Outlaw Country" movement by writing every song but one on Waylon Jennings's 1973 album, <i>Honky Tonk Heroes</i>. Shaver's own albums, though, are highly prized among critics and his fellow musicians, and both those camps celebrated the release of only his second album in 11 years, 1996's <i>Tramp on Your Street</i>. Waylon Jennings helps out his old pal on the autobiographical "Heart of Texas" and on "Oklahoma Wind," which manages to evoke the tragedy of the American Indian without getting all sentimental. Brother Phelps adds hillbilly harmonies to two songs. Best of all is the title song, a true story about a 10-year-old Billy Joe Shaver walking 10 miles to hear Hank Williams sing at the Wonder Bread bakery in Corsicana, Texas. The song blossoms, however, into a universal anthem about the importance of culture to the poorest and most desperate among us. <i>--Geoffrey Himes</i>

Genere: Jazz

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Genere: Jazz

Durata: 70:32

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Genere: Rock

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Trama: The '80s folk revival yielded a diversely talented generation, some reared on the aesthetic and ideology of punk, some on their '60s singer-songwriter predecessors. They were looking for the directness of expression and connection with audience that stripped acoustic music promised. Michelle Shocked built an audience through her strident activist messages and raw, almost naked songs; she had the sincerity that the audience craved. Despite the militant cover--in which a cop is seen choking a protesting Shocked--the record is memorable for its reveries of childhood, its simple sense of hope, and Shocked's minimalist guitar and hoarse, youthful voice. <I>--Roy Francis Kasten</I>

Genere: Blues

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Trama: This is Short at his best. There's no brass section to drown out his voice or his piano, and you can hear the audience at the Cafe Carlyle react to his performance. Short's interpretation, along with Beverly Peer's and Robert Scott's, never gets stale. You can listen to this CD a hundred times and hear new aspects each time.

Genere: Jazz

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Trama: The only thing more astonishing than the originality and complexity of tenor saxophonist-composer Wayne Shorter's music is that this CD is his first live recording as a leader. Captured in Europe in the summer of 2001, Shorter's compositions are reinvented by Danilo Perez's sterling pianisms, John Patitucci's rock-steady bass lines, and drummer Brian Blade's stunning synthesis of Elvin Jones and Tony Williams' styles. "Masquelero," "Sanctuary," and the hypnotic "Footprints" are resurrected from his stint in Miles Davis's '60s combos. "Go," the African-derived "Juju," and Shorter's ingenious arrangement of Jean Sibelius's "Valse Triste" come from his Blue Note LPs of the same era. The moody melodicisms of "Atlantis" and the Afro-Eurasian evocations of "Aung San Suu Kyi," named for the Burmese political activist, are from Shorter recordings from 1985 and 1997. Simply put, Wayne Shorter is a jazz god, and these are his sacred sonic scriptures. <I>Eugene Holley Jr.</I>

Genere: Jazz

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Trama: Wayne Shorter's compositions helped define a new jazz style in the mid-'60s, merging some of the concentrated muscular force of hard bop with surprising intervals and often spacious melodies suspended over the beat. The result was a new kind of "cool," a mixture of restraint and freedom that created a striking contrast between Shorter's airy themes and his taut tenor solos and which invited creative play among the soloists and rhythm section. The band on this 1964 session is a quintessential Blue Note group of the period, combining Shorter's most frequent and effective collaborators. Trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter, and drummer Elvin Jones merge their talents to create music that's at once secure and free flowing, sometimes managing to suggest tension and calm at the same time. <i>--Stuart Broomer</i>

Genere: Jazz

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Genere: Folk

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Trama: Paul Siebel is a singer-songwriter in the mold of Eric Andersen and the lyrical Phil Ochs (whose voice his off-kilter, nasal delivery recalls), but he never built up a consistent audience, and he's since slipped through the cracks. A welcome reissue of Siebel's much praised 1970 release <I>Woodsmoke and Oranges</I> (and including five tracks from the later <I>Jack-knife Gypsy</I>), these 15 songs show Siebel's prodigious lyrical talents, and why, in his day, he was held in high esteem by fellow songwriters. Session all-stars David Bromberg, Clarence White, Richard Greene, David Grisman, and Buddy Emmons lend this record a classic, rolling country sound, and help ground Siebel's imagistic narratives. <I>--Roy Francis Kasten</I>

Genere: Blues

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Trama: This was Siegel-Schwall's only completely live album, although live cuts appeared on thier albums all the time, this one was a true live record. It was recorded at the legendary Quiet Knight in Chicago, an upstairs club on West Belmont in 1974. Siegel-Schwall had the regular Tuesday night spot there. The Quiet Knight's been gone for over 25 years now, but the memories live on in the recording. It starts out with "Rock Me Baby", a smokin' HOT version with Rollo on lead vocals. Jim Schwall's lead slide guitar work just makes one's mouth water. Rollo's extended pause during the last verse shows the humor the band's bassist had (and still does) while he makes the audience wait..and wait..and then the laughter starts and you just know it's gonna be a great night...and then he sings the final line and the song come to a thunderous conclusion, and we're off! Jim's next with "You Don't Love Me Like That", an original from thier "Sleepy Hollow" album and always a crowd pleaser, and Corky follows with another "Sleepy Hollow" number, "I Won't Hold My Breath" featuring more of Jim's slide guitar virtuosity, Corky's vocal acrobatics and fleet fingered piano work. Three songs appear on a Siegel-Schwall album for the first time here, "Out-a-Gas?", "West Coast Blues" and "Sun Is Shining" and they're all worthy and wonderful additions to the Siegel-Schwall catalog.<p>I am so glad that this finally saw the light of day on CD. You will be too.

Genere: Jazz

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Trama: Vocalist Janis Siegel is a member of the world-famous Manhattan Transfer, but she has also released several satisfying records as a solo artist. This CD features Siegel paying tribute to the New York hit-making institution of the '50s and '60s known as the Brill Building, and to female singers. A topflight band accompanies Siegel, including pianist Cedar Walton, tenor saxophonist-flutist David "Fathead" Newman, and trumpeter Tom Harrell. The singer and her soulfully syncopated crew work their magic by recasting tunes such as the Barry Mann-Cynthia Weil gem, "Just a Little Lovin'," and Toni Fisher's "The Big Hurt." Siegel's sophisticated and sensitive vocals also give justice to Dakota Staton's "The Late, Late Show," Etta Jones's "Don't Go to Strangers," and Nancy Wilson's "(I'm Afraid) The Masquerade Is Over." Throughout this project, Siegel unveils her own distinctive voice in a number of genres from mainstream swing and ballads to doo-wop. <I>--Eugene Holley Jr.</I>

Genere: Rock

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Trama: Since its title track provided the inspiration for Steely Dan's "Rikki, Don't Lose That Number," <I>Song for My Father</I> has become known as the jazz recording that launched a thousand bad rock records. Yet whatever pretensions Steely Dan and their legion of desperately hip imitators had shouldn't be laid at pianist Horace Silver's door: this is one of Blue Note's warmest and most satisfying collections--and that's saying something. A pioneer of the hard bop style, which combined gospel and R&B with jazz, Silver authored many outstanding compositions, including not just "Song for My Father," but "Opus de Funk," "Nica's Dream," "Senor Blues," and "The Preacher." His quintets, which featured tenor sax and trumpet, spotlighted such up-and-coming talents as trumpeters Woody Shaw, Art Farmer, and Donald Byrd. <I>On Song for My Father</I>, the band features tenorman Joe Henderson, who contributed one of his own signature tunes, "The Kicker." Along with the strong quintet work, the album includes a fine trio feature for the pianist in "Lonely Woman." <i>--Fred Goodman</i>

Genere: Jazz

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Genere: Jazz

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Durata: 42:21

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Trama: Given its title and tone, this record is apparently an attempt to reflect the mood and feel of classic film noir through a musical medium, which it succeeds at admirably. It helps that Simon's coproducer for the project was renowned songwriter and arranger Jimmy Webb, whose own music is often awash in the kind of cinematic drama that defines this disc. Webb and Simon duet on "Spring Will Be a Little Late This Year," and they cowrote the title track, the album's only original tune. Of the many standards covered, the best is Cole Porter's "Every Time We Say Goodbye;" less successful on the duet front is "Two Sleepy People," which regrettably teams Simon with John Travolta. <I>--Peter Blackstock</I>

Genere: Rock

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Trama: The melding of South African styles and Simon's trademark sensibility made for one of the most intriguing albums--not to mention commercial hits--of the '80s. At once lively, thoughtful, gorgeous, and tough, <I>Graceland</I> acknowledges splits both in South Africa's social fabric and in Simon's personal life (the title track is a clear descendant of the earlier "Hearts and Bones," a song about the singer-songwriter's brief marriage to Carrie Fisher). Humor is hardly absent from the mix, though; witness the addled "I Know What I Know" and the fable-like "You Can Call Me Al." <i>--Rickey Wright</i>

Genere: Rock

Durata: 51:44

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Genere: Country/Bluegrass

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Trama: Many of us couldn't wait to bash Skaggs upon his 1997 return to roots, <i>Bluegrass Rules!</i> Poor Ricky, sniffle, couldn't record his beloved bluegrass for a dozen years because of, sob, "contractual obligations." Of course, <I>Bluegrass Rules!</I> turned out to be an explosive record, and as usual, Skaggs had redeemed himself on the sheer basis of his talent. The 1999 follow-up, <I>Ancient Tones</I>, is a worthy sequel, as Skaggs and his stellar Kentucky Thunder band (with Stuart Duncan and Jerry Douglas helping out) continue to pray at the feet of the gods--Monroe and Stanley--in fresh and exciting ways. The arrangements are more ambitious and in general more subtle than on <I>Bluegrass Rules!</I> but are no less rewarding. Skaggs's own vocals scale new heights, especially on the chilling a cappella introduction to the eight-minute "Little Bessie," which then adds <i>bodhran</i> and harp as if to illustrate bluegrass' connection to its Celtic roots. Maybe we'll get to bash him yet, but certainly not this time around. <I>--Marc Greilsamer</I>

Genere: Country

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Genere: Classical

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Genere: Blues

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Trama: Listening to this collection, recorded from 1925 to 1928 as Bessie Smith's popularity grew, one only wishes that the recording technology of the day were a match for Smith's incredible voice. Naturally, this two-disc set contains many of her classic recordings, including "Back Water Blues," "Send Me to the 'Lectric Chair," "Lock and Key," "A Good Man Is Hard to Find," and "After You've Gone." This collection's also worth hearing for the backing musicians, who include Fletcher Henderson, James P. Johnson, Coleman Hawkins, and other luminaries of the day. To listen to Bessie Smith is to hear the blues unadulterated, and to understand what inspired so many contemporaries and later singers, from Billie Holiday to Janis Joplin. <I>--Genevieve Williams</I>

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Trama: In some ways, singer/songwriter Patti Smith seems an unlikely choice for a full-bore anthology like <I>Land (1975-2002)</I>. After all, she's had only one charting single with "Because the Night". Yet her influence on the fledgling NYC punk scene and as a protofeminist poet renders her something of an American counterculture icon. As such, <I>Land</I> serves to frame an uncompromising career spanning four decades. <p> Split over two discs and featuring 31 tracks and almost two-and-a-half hours of music, <I>Land</I> begins with a survey of Smith's studio albums, relying most heavily on 1978's <I>Easter</I>. All the greats are here--"Dancing Barefoot", "People Have the Power", "Gloria", "Rock 'n' Roll Nigger", "Frederick" and, of course, "Because the Night". There's also a newly recorded version of Prince's "When Doves Cry", one of two songs cut specifically for this collection. <p> The second disc is where fans--who were solicited for track selection input via gigs and the Internet--get the goods. Early demos, among them 1974's coveted "Piss Factory", plus two other pre-<I>Horses</I> recordings, "Redondo Beach" and "Distance Fingers", kick things off. What follows is a batch of previously unreleased live recordings--"Dead City", "Spell", "Boy Cried Wolf"--most captured during a 2001 tour through the US and Europe, and studio outtakes. Smith herself helped remaster the recordings while stacking the accompanying booklet with fans' photos and the like. <p> <I>Land</I> probably won't spark a Smith renaissance, but loyalists can marvel at an artist who's never turned a fast buck by easing up on the sweat, tears, hunger and integrity that inform every one of these tracks. <I>--Kim Hughes</I>

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Trama: Both a stopgap release until Patti Smith writes another album's worth of material and a way to keep her name in front of the public after her highly publicized 2007 induction into the Rock and Roll Hall of Fame, this set of a dozen covers finds the singer/poet in an unusually reflective mode. Some of the sources are obvious for those familiar with Smith's influences (the Rolling Stones, Jimi Hendrix, Bob Dylan), some less so (Paul Simon, Nirvana, Jefferson Airplane, Neil Young), and a few come out of left field (the Allman Brothers Band, Stevie Wonder, Tears for Fears). Smith's innate class and approach guarantees there's nothing awful here, but there also isn't much that stamps these versions with her own vision. She does little more than deliver the words in her unique spoken/sung voice and--except for adding a banjo and her own poetry to an acoustic "Smells Like Teen Spirit"--keeps the arrangements close to the originals. At times she seems distant from the material, running through the Doors' "Soul Kitchen" and Young's "Helpless" with an oddly soulless detachment. Likewise, her band seems to be on autopilot, playing with little emotional involvement or attempts to bring fresh interpretations to tunes that are, with the exception of Dylan's "Changing of the Guard," surprisingly unimaginative choices. Considering the raging and extreme overhaul Smith did on Van Morrison's "Gloria" and the Who's "My Generation" in her younger days, this quieter, gentler approach seems flaccid, even bland in comparison. <i>--Hal Horowitz</i>

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