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Genere: Folk

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Genere: Rock

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Trama: Having spent the early 1980s in a giddy expansion of the sound and scale of their studio recordings and concerts, Talking Heads come full circle with this 1985 album, retracting to the core quartet and restoring a focus on David Byrne's knotty songs. Arriving in the wake of the fevered rhythms of <i>Speaking in Tongues</i> and <i>Stop Making Sense</i>, <i>Little Creatures</i>'s new material sounds freshly lyrical, remarkably concise, even subdued, but there's the usual whimsy--the levitating heroine of the jangling, punchy opener, "And She Was", the cracked child-rearing advice of "Stay Up Late" and the galloping, anthemic reminder that we're on the "Road to Nowhere". <i>--Sam Sutherland </i>

Genere: Rock

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Genere: Rock

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Trama: Way back in 1980, the original wave of Talking Heads fans were pleasantly stunned to hear <i>Remain in Light</i>, produced and co-written by Brian Eno, on which Byrne and company are joined by guitar god Adrian Belew, and funk legends Bernie Worrell (keyboards) and Steven Scales (percussion), among others, for a fuller, funkier sound nobody imagined they had in them. The first three songs are long, layered, full-body dance parties, with incessantly repeated phrases (musical and lyrical), and increasingly catchy melodic hooks that won't let go for days. "Once in a Lifetime" was the big hit, but the rockingest track is the third, "The Great Curve", after which the songs get more linear and subdued. It's still great stuff, right through to the especially Eno-like droner, "The Overload", but the second half is maybe better to sleep to than dance to. Which is fine: after the exuberance of the first three songs, you'll need a little nap. <i>--Dan Leone</i>

Genere: Rock

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Genere: Rock

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Trama: The soundtrack to the Jonathan Demme documentary, <i>Stop Making Sense</i> captures the Talking Heads live in 1984 on what would turn out to be their last major tour. This collection, and the film, is a true gift to the band's fans, a testament to their extraordinary talent, both in the studio and especially onstage. Frontman David Byrne infuses each song with a jolt of energy and drama that could only have come from a late-1970s New York art-school student. Now-classic tracks such as "Psycho Killer", "Girlfriend Is Better", "Once in a Lifetime", "Take Me to the River", and "Burning Down the House" have never sounded better. <i>--Lorry Fleming </i>

Genere: Rock

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Genere: Jazz

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Genere: Jazz

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Genere: Jazz

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Genere: Jazz

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Genere: Jazz

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Genere: Jazz

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Genere: Jazz

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Trama: Before Norman Granz brought Art Tatum into the studio a half-dozen times in 1955-56 to record what would become known as the "Group Masterpieces," he brought the legendary pianist into the studio nearly a dozen times from 1953-55 to record what would become the eight CD volumes of the "Solo Masterpieces." (By the way, feel free to check out my reviews of Group Masterpieces Volumes 3, 4 & 6, and of the Boxed Set collecting all eight volumes.) Art Tatum is arguably the greatest pianist in the history of jazz, and the world owes a great debt to Mr. Granz for having the insight to document him in such variety and quantity. For those of you who are hesitating because this is a solo jazz recording, don't! Art has a style of playing flurries of notes, so that at any given time it sounds like a trio session. But don't get the wrong impression, Tatum is not merely a master technician, but a sensitive and sincere virtuoso. Another intimidating aspect of these "Masterpiece" volumes, whether it is the Group or Solo, is the shear number of them. I would suggest, as the Penguin Guide does, to start with Volumes 4 or 6, but any one of them will do fine for they are all truly, modern piano masterpieces.

Genere: Jazz

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Trama: The greatest jazz stars of the '40s and '50s era converged upon Los Angeles over a two-year period (1954-56), each beckoned by Norman Granz for the purpose of this series of ad hoc group recordings with pianist Art Tatum. Granz's penchant for the preservation of the most splendid jazz of the century was palpable in his call and the motive force behind the wide summons. Among those responding were Ben Webster, Buddy DeFranco, Coleman Hawkins, Roy Eldridge, Lionel Hampton, Harry Edison, Louie Bellson, and so many more that the full list is almost stupefying. Clearly Art Tatum was the magnet that drew these big stars together for Granz to cut recordings, a project that such an impresario could only have envisioned in some utopian flight. Each fellow jazz scion was drawn by the honor of being Tatum's accompaniment, preserving their turns at the helm with the keyboard's master. Like the "Pablo Solo Masterpieces", the selections here are all well known and therefore not just some trendy set of bop riffs made for this gig as a one-off occasion, never to be heard again. DeFranco's clarinet can only be described as seductive on the old Rudy Vallee number "Deep Night." Several cuts strip down to feature Tatum's piano with only Red Callender (bass) and Jo Jones (drums). This trio's take on "Some Other Spring" stands out, reviving for the moment the best Billie Holiday ballad ever reduced to wax. Then there are the other trim trios, with Benny Carter on alto sax and Bellson on drums for 14 tunes and Hampton on vibes and Buddy Rich on drums for almost 20 tunes. Never mind the quartets (Eldridge, John Simmons, and Alvin Stoller on one; Webster, Callender, and Bill Douglass on another), which feature dynamic interplay between the horns and Tatum. For the last chapter in Tatum's piano, the Pablo series cannot be passed by. This is the sine qua non of any serious jazz collection. "--Daniel Bartlett Jr."

Genere: Jazz

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Trama: This box set is a stunner: the ultimate Art Tatum collection. Virtually every well-known jazz composition is included, as well as many of the show-stopping ballads of Rogers and Hart, Jerome Kern, and the Gershwins, all played in Tatum's lavish, swinging style. While a box set of this size is almost impossible to cover in brief, it reaches a peak for stride piano enthusiasts with "Taboo," which reeks of 1920s Harlem rent parties. In addition, the last two choruses freely reveal the Thomas "Fats" Waller image so loved and adopted by Tatum. Aside from the bustling all-over-the-keyboard Tatum, there's an immeasurable tender side to him, as well. He plays the ballad "My Last Affair" in the silken, smooth rhythm that so distinguished his style, a style and technique never equaled in its sophistication and brilliance. It is virtually impossible to select a more impressive jazz and swing piano treasure for the neophyte or seasoned collector. Historians note that Norman Granz, the original promoter of the Tatum series, recorded the pianist in a sort of musical Napoleonic charge to get every selection down on wax for the ages. It was as if Granz knew that Tatum would be dead in 1956, three years after the first of these recordings. "--Daniel Bartlett Jr."

Genere: Jazz

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Trama: Japanese limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork.

Genere: Rock

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Trama: The merchant of mellow's first studio album since <i>New Moon Shine</i> (1991), and you've gotta have a heart of naugahyde not to be touched by the simplicity and uncommon wisdom of these dozen tunes. "Little More Time with You" is a trademark Taylor single augmented by a Stevie Wonder harmonica line, "Ananas" is sly and lusty, while the expertly crafted "Line 'Em Up" features a fond recollection of Richard Nixon's "shifty little eyes." A-list guests like Sting, Shawn Colvin, Branford Marsalis, and Randy Brecker add to the charm. <i>--Jeff Bateman</i>

Genere: Rock

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Genere: Folk

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Trama: Covers is the cd that James Taylor fans have been anticipating for years. Recorded live with his full band in a barn in Massachusetts that was transformed into a studio, the album is a treasury of songs he has performed live over the years, but never recorded. It is an American songbook of tunes made famous by artists as varied Buddy Holly, The Dixie Chicks, The Temptations, Leonard Cohen, George Jones and Eddie Cochran, but embraced and interpreted by James Taylor in a way that makes each one his own. It is a significant work by one of the greatest artists of his generation, which pays tribute to classic American songs from Broadway to Nashville, Detroit to Memphis and across all boundaries. Covers is in itself a classic James Taylor recording.

Genere: Blues

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Trama: <I>Force of Nature</I> is aptly titled; over three decades into her career, Koko Taylor is unstoppable. The Queen of Chicago Blues is in fine form on this 1993 release from Alligator, from her own "63 Year Old Mama," "Put the Pot On," and "Spellbound" to such blues classics as "Hound Dog," "Bad Case of Loving You," and "Born Under a Bad Sign" (featuring an appearance by Buddy Guy). "Mother Nature," with Carey Bell on harmonica, is a well-chosen opening track; Taylor's earth-shattering voice brings the roof down on your head and shakes you out of your shoes. Sit back and enjoy, but you'll soon find yourself up and dancing around the room. <I>--Genevieve Williams</I>

Genere: Blues

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Genere: Blues

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Trama: Go ahead and call it a comeback. Despite her advancing years and frail health following a 2003 hospitalization, <i>Old School</i> shows that the Queen of Chicago Blues has no intentions of abdicating her throne just yet. Koko Taylor isn't terribly prolific--this is only her third album in 14 years--but she's also never released a lackluster effort, and this is no exception. As the title suggests, you should be prepared for tough, rugged Chicago blues sung by one of the masters of the genre, regardless of gender. Taylor's legendary booming voice does show some wear, but her husky pipes, wang-dang-doodle attitude, and sheer enthusiasm will convince any skeptics that the singer is far from phoning in her performance. The disc is split evenly between originals and covers of Willie Dixon, Magic Sam, and others, all powered by a gritty yet professional no-nonsense band featuring guitarists Steady Rollin' Bob Margolin and Criss Johnson, along with the harmonica great Billy Branch. Musically, there aren't many surprises, but at this stage Taylor isn't pushing boundaries with her meat-and-potatoes diet of grinding shuffles mixed with the occasional slow blues. Knocking off a tune or two from the hour-long program might have made this a more concise, compact statement, however. Yet with songs as frisky as "Bad Rooster"--possibly an answer to the classic "Little Red Rooster"--and a strutting version of Dixon's "Don't Go No Further," there's no doubt that Taylor remains as passionate and intense as when she was first claiming her crown, nearly four decades ago. <I>--Hal Horowitz</i>

Genere: Blues

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Genere: Blues

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Genere: Blues

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Genere: Blues

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Trama: The sweet, husky mix of sugar and sandpaper in two-time Grammy nominee Susan Tedeschi's voice breathes sultry life into the art of classic soul singing on <i>Hope and Desire</i>, her fourth album. It's somewhat disappointing that she's chosen to defer her own songwriting in favor of classics and obscurities by Ray Charles ("Tired of My Tears"), Dylan ("Lord Protect My Child"), the Rolling Stones ("You Got the Silver"), and others. She's also left her guitar at home, assigning the exceptional playing to Clapton sideman Doyle Bramhall, Jr., and her husband, the Allman Brothers' Derek Trucks. But it's thrilling how Tedeschi applies her gospel-trained vocalizing to these 12 numbers, all tales of hope and desire, delivered at an unhurried pace so the delicate filigrees of her phrasing make them resonate with absolute emotional conviction. By the time the album closes with the gut-bucket blues "The Dangerzone," Teseschi's easily made the case for her third Grammy nod. <i>--Ted Drozdowski</i>

Genere: Rock

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Genere: Jazz

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Genere: Country

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Trama: At an age when most performers of their stature are either fading fast or priming for the oldies circuit, Doug Sahm, Freddie Fender, Flaco Jimenez, and Auggie Meyers regrouped and made some of the rawest, swingingest, and most memorable music of their careers. Each member puts a slightly different spin on the Tex-Mex sound and the results blaze back and forth across the boundaries of spicy rock & roll ("Adios Mexico"), Tejano ("Who Were You Thinking Of"), and honky-tonk weepers ("A Man Can Cry"). You don't have to be familiar with Mexican music or the Spanish language to love this album: Its soul knows no borders and rocks right over any resistance. <I>--Roy Francis Kasten</I>

Genere: Rock

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Genere: R&B

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Genere: R&B

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Genere: Blues

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Genere: Rock

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Genere: Rock

Durata: 50:01

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Produttore: EL

Trama: Recorded 03 - 01 - 09 in Piacenza.
Mixed and mastered by Serse Mai
Produced by: EL, Santarcangelo dei Teatri, Ortosonico. Teatro Petrella.

Genere: Rock

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Trama: <I>Front Parlour Ballads</I> is almost entirely acoustic, with all instruments but percussion played by Thompson. Despite the basic approach, however, this is not a sparse album.­ Thompson's guitar playing is as complex as ever, and the songs stand comparison with any of his best.<p> The opening track, "Let It Blow", is a funny account of a relationship conducted in the grubby glare of the tabloids, "For Whose Sake?" and "Miss Patsy" are sterling illustrations of Thompson's ability to frame modern sentiments and stories within time-served folk idioms. "Boys Of Mutton Street" starts with a riff which is ­ surely intentionally ­ an echo of Thompson¹s previously best-known acoustic song, "1952 Vincent Black Lightning", and "Solitary Life"{ sounds like it might be Thompson's take on Radiohead's "Fitter Happier".<p> There has been bizarrely little recognition of the possibility, but after the resounding classics <I>Mock Tudor</I> and <I>The Old Kit Bag</I>, <I>Front Parlour Ballads</I> suggests that Thompson may well be in the prime of his long and extraordinary career. <I>--Andrew Mueller</I>

Genere: Rock

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Genere: Rock

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Trama: A literate songwriter and fearlessly talented guitarist, Richard Thompson is also a complete bust when it comes to romance. Or so <I>Mock Tudor</I>, which details love gone wrong from an early age to present, suggests over and over. Fortunately, Thompson makes his troubles worth our concern, thanks to his mix of wounded perseverance ("Dry My Tears and Move On") and all-out bile (the vindictive but ultimately self-destructive "Hope You Like the New Me"). <I>--Keith Moerer</I>

Genere: Rock

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Trama: One studio album every three years is beginning to seem like a guarantee that every new Richard Thompson release will be a gold-plated delight. <I>The Old Kit Bag</I> arrives three years after <I>Mock Tudor</I>, which in turn appeared three years after <I>You? Me? Us?</I>. And if not exactly a trilogy, the three taken together represent some of his most consistently rewarding work. On the new album Thompson is unusually relaxed--indeed he's positively genial in places--and even when he dials the mood down it's done with deliciously self-mocking irony ("I've got no right to have it all"). In the country-inflected "Sight Unseen" he actually goes so far as to sing of love without bitterness, and only with "Outside of the Inside" do his lyrics really sting ("God never listened to Charlie Parker / Charlie Parker lived in vain / Blasphemer, womaniser / Let a needle numb his brain"). <p> Musically <I>The Old Kit Bag</I> employs a stripped-down band and back-to-basics production reminiscent of early Fairport and as on those albums acoustic folk instruments ("One Door Opens") here rub shoulders with that inimitable electric guitar ("A Love You Can't Survive", for example). Danny Thompson does his solid thing on double-bass (check out the wonderfully languid "First Breath" and "Got No Right"), while Judith Owen's backing softens Thompson's familiar gruff vocals. Like every Richard Thompson album this one's a grower, but it's well worth the effort. --<I>Mark Walker</I>

Genere: Rock

Durata: 61:18

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Trama: His odyssey through British and American folk and rock has taken Richard Thompson from Fairport Convention's initial stabs at becoming England's Jefferson Airplane to deserved status as an inimitable guitarist and songwriter; "possessor of the magic touch," as the Fairport anthem "Come All Ye" aptly dubbed him. Also playing Stratocaster, acoustic guitar, or mandolin, he has written an astonishing body of songs that can time-travel from moor and meadow to factory town and cyberspace and keep both tragedy and farce in focus. This superb 1991 solo album is no exception. Spurred by his darting electric jigs and reels, up-to-the-minute and old as the hills, the set juggles traditional forms and modern production to comment on sex education ("Read About Love"), homicide ("I Feel So Good") and, as always, love gone wrong ("I Misunderstood") or tragically interrupted ("1952 Vincent Black Lightning," at once a gentle parody of Beach Boys car songs and a rigorously constructed acoustic ballad). <I>--Sam Sutherland</I>

Genere: Rock

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Trama: Spanning the artist's career from 1967 to 1982, <i>Small Town Romance</i> is a delightful introduction for the neophyte and a necessity for even the most casual Richard Thompson fan. This warm, clear-sounding live disc, recorded at the Bottom Line and Folk City in New York in 1982, shows the singer/songwriter in top solo form following the dissolution of his partnership with wife Linda. There is one caveat: Thompson's vocal delivery--especially on songs that Linda used to sing, such as "A Heart Needs a Home" and "I Want to See the Bright Lights Tonight"--is a tad rough. One assumes this is the reason Thompson (according to label head Joe Boyd) asked for the record to stay out of print for a number of years. But such minor quirks invariably happen in live performances and the missed note here and the cough there add to the record's charm. Thompson has rarely sounded as nimble-fingered (on the terrifically showy "Roll Over Vaughn Williams") as he does here, nor as emotionally in touch with his songs. Highlights include a heart-tugging rendition of "Down Where the Drunkards Roll", the joky jig "Woman or a Man" and forceful takes on two Fairport classics, the anthemic "Meet on the Ledge" and the lovely "Genesis Hall". <i>--Mike McGonigal </i>

Genere: Rock

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Trama: Richard Thompson did not achieve overnight his now-acknowledged status as a pillar of British folk-rock, as a towering guitarist and as a songwriter as distinctive and thematically provocative as any of his contemporaries. As late as 1980, when Thompson already had a formidable dossier of wonderful recordings with Fairport Convention as well as with his then-wife Linda, the would-be folk god was more cult artist than recognizable entity. This superb three-disc retrospective provides an intelligent overview of his evolution, avoiding the conventions of a "hits first" approach (silly in this case) or a completist's preoccupation with chronology and minutiae (dreary move, that). Instead, the discs shuttle back and forth across different periods in Thompson's career, swap excellent live performances, alternate takes for certain tracks and let the music dictate the flow. That makes <i>Watching the Dark</i> as engaging for life-long Thompson fans as it will surely be for new recruits. <i>--Sam Sutherland</i>

Genere: Rock

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Trama: Sometimes even a legend just wants to have fun. Having gradually achieved his lofty position as a titan of British folk-rock and as one of Britain's finest songwriters, period, Richard Thompson allows his instincts as a sublime guitarist to dominate this casually brilliant double album. Separated into distinct electric and acoustic programs, the "voltage-enchanced" Disc 1 gives us generous doses of a rockin' Richard, featuring some of his most extroverted string-bending in years and some terrific songs, capped by "Razor Dance" and an acid "Put It There Pal." On the "nude" second disc, Thompson unplugs to reel off some of the most beautiful guitar filigree and keening acoustic leads imaginable, focusing on a program largely devoted to ballads. As always, his ability to couple timeless musical forms with trenchant commentary gives these songs power--try the closing "Woods of Darney," set during World War I, which combines an antiwar message, a love song, and a ghost story in its concise verses. <I>--Sam Sutherland</I>

Genere: Rock

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Genere: Country

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Genere: Jazz

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Trama: The concept couldn't have been simpler, nor could it have been more perfect, just Tony Bennett and Bill Evans, Together Again, in the wee small hours of the morning, engaged in an intimate musical dialog, with the recording tape rolling. Originally released in 1977 on Bennett's own Improv label, Concord Records is proud and honored to make this timeless classic available again. Remixed & remastered in high definition digital it features 18 tracks including 5 previously unreleased bonus tracks, 'A Child Is Born' (Alt.), 'You Must Believe In Spring' (Alt.), 'Maybe September' (Alt.), 'You Don't Know What Love Is' (Alt.) & 'The Bad And The Beautiful' (Alt.). Concord. 2003.

Genere: R&B

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Durata: 47:18

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Produttore: Theo Travis

Trama: ‘Discretion’ is the brand new album by pioneering guitar legend Robert Fripp and flautist/saxophonist Theo Travis made available for Bowers & Wilkins Society of Sound in stunning 24 bit high quality digital format.
The music follows on from the duo’s previous album releases and combines almost telepathic interplay with a deep understanding of musical texture and space, the building of long slow melodies, and the creation of slowly shifting harmonic soundscapes.
‘Discretion’ is drawn from a number of high-resolution multi-channel recordings made at a series of European concerts in 2010. Minimal studio overdubs were added prior to mixing.

Over the six pieces, the mood is largely calm and beautiful, but there are surprises however. In Rotary Symmetrical Travis weaves lines on his wah-wah saxophone – an unusual and haunting sound - whilst Fripp plays with his expected authority but with an almost ominous sense of space. The track builds to a gargantuan climax as Fripp plays his overdriven guitar in a powerful almost Crimson like ending. The track Refract also changes the mood as unsettling harmonies ensure that the music remains challenging and the atmospheres vary significantly.

King Crimson fans will also not be disappointed with presence of the melodic theme The Power to Believe from the album of the same name. This opens and closes this album with a very atmospheric version of the tune played on soprano saxophone over moody guitar soundscapes beginning and ending the album in a similar and satisfying way.

by Sid Smith

Genere: Country

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Trama: <I>Ten Feet Tall and Bulletproof</I> takes its title from Travis Tritt's most irresistible single since "Here's a Quarter (Call Someone Who Cares)." This time the joke's not on the girlfriend but on the singer himself, who feels "Ten Feet Tall and Bulletproof" when he has a few beers under his belt. As Tritt's comic verses tell it, though, the beers actually turn him into a midget clown with two left feet, one of them usually in his mouth. It's the kickoff for an impressive album that reveals just how much Tritt has grown as a vocalist in his few years of stardom. <i>--Geoffrey Himes</i>

Genere: Jazz

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Trama: Troy 'Trombone Shorty' Andrews' Is A Rare Artist Who Can Draw Both The Unqualified Respect Of Jazz Legends And Deliver A High-Energy Rock Show Capable Of Mesmerizing International Rock Stars And Audiences Alike. With Such An Unprecedented Mix Of Rock, Funk, Jazz, Hip-Hop And Soul, He Had To Create His Own Name To Describe His Signature Sound: Supafunkrock! Andrews Is The Kind Of Player Who Comes Along Maybe Once In A Generation, And Backatown Is The Latest, Clearest Proof That His Artistry Is As Singular As His Raw Talent.

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Genere: Country

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Trama: This Texas honky tonker possessed a charismatic, pared-down style that featured his deep, distinct Texas drawl, and a relaxed, deliberate, behind-the-beat delivery. Boiling his career down to 16 tracks is no easy task, but this single-CD collection offers an effective mix of hit records and non-commercial career highlights. 1941's "Walking the Floor Over You" made Tubb a star and remains a country standard. Drinking songs such as "Two Glasses, Joe" accompany tear-jerkers about lost love and topical songs about World War II soldiers' experiences both overseas and upon their return. Tubb's Texas Troubadours-especially guitarist Billy Byrd-provide simple but enormously effective support. Tubb's easy-going, loping style distinguishes him from most other honky-tonk stars. <I>--Marc Greilsamer</I>

Genere: Jazz

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