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Genere: Jazz

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Riassunto: His two decades of success as leader, main composer, and arranger of the supercharged Cuban jazz fusion group Irakere have often obscured the talents of Jesus "Chucho" Valdés as a pianist. Now Valdés seems ready, indeed eager, to take his playing center stage. <I>Bele Bele en la Habana</I>, recorded in Toronto early in 1998, features Valdés with a stripped-down quartet playing a program of originals and Cuban standards. It's an impressive show. With sure technique, Valdés seamlessly blends elements of jazz (postbop phrasing and rich harmonies reminiscent of Bill Evans), classical, and Afro-Cuban music. He offers high energy and lyricism ("Son Montuno"), an implacable groove ("Con Poco Coco," "La Sitiera," "But Not for Me"), and even a dash of melodrama now and then (the classic "Tres Lindas Cubanas"). Irakere might have lost their leader, but jazz has gained a superior pianist. <I>--Fernando Gonzalez</I>

Genere: Jazz

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Genere: R&B

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Riassunto: Van Hunt’s self-titled debut record is a sultry trip back in time, where the single named musician conjures up the heady specter of '70s R&B, channeling vintage Marvin Gaye and Curtis Mayfield, then punctuating that smooth soul with some Sly Stone rhythm and grit, and early Prince naughtiness, without managing to sound hopelessly derivative. Why? Because behind every old school nuance is an ingenious vocal tic or instrumental fillip that reveals the quirky genius of this newcomer who not only sings but writes, produces, and arranges all his own material. The sinuous guitar, brash off-rhythms, and bubbling bass lines are perfect foils for the musician’s decidedly modern tales of thwarted love and commitment. Van Hunt may be a fan of retro soul, but to his credit he doesn’t even attempt to resurrect some the social anachronisms of the times. --Jaan Uhelszki

Genere: Country

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Genere: Country

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Genere: Country

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Genere: Country

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Riassunto: The first and best album the late Texas singer-songwriter Townes Van Zandt made for Sugar Hill Records, this 1987 set mixes older material ("For the Sake of the Song") with fresh material (the instant classic "Buckskin Stallion Blues"). As is usually the case with Van Zandt albums, the originals shine. The funky "Ain't Leavin' Your Love" comes complete with an unlikely saxophone solo, while "Catfish Song" boasts the kind of gospel melody that marked this gentle, hard-living man as one of the finest songwriters to have ever worked in a country-folk vein. His voice--never the acquired taste of a Jimmie Dale Gilmore or Bob Dylan--had lost some of its certainty and range by this time. Fortunately, what's absent in reach is more than offset by a very appealing world-weary hue. This set features a raft of first-class supporting players, including bassist Roy Huskey Jr., fiddler Mark O'Connor, and guitarist Mickey White. Horn accents abound in the arrangements, and the whole session hangs together in a warm, rewarding way. Van Zandt's last studio album stands as his final bona fide classic. <i>--Robert Baird</i>

Genere: Country

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Riassunto: When considering the catalog of the late, great Townes Van Zandt, <i>The Highway Kind</i> is a dicey matter. All but three of the tracks are cut live, but these selections represent a weathered and weakened man. His picking isn't quite so fleet; his phrasing is fleeting. Listen to his version of Texas sidekick Guy Clark's "Dublin Blues" to hear a man not long for this world. Still, somehow the notes that fall flat are the ones that ring most true. Which just goes to show that perhaps the best epitaph for Townes Van Zandt is the same he'd given the outlaw Lefty in his most famous song: "They only let him slip away out of kindness, I suppose." <I>--Steven Stolder</I>

Genere: Country

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Riassunto: If Townes Van Zandt is known at all, it may be only for writing the Willie Nelson/Merle Haggard hit "Poncho and Lefty" a decade back. But the voice and music of this care-worn country-folk veteran (who passed away in January 1997) connotes something more sublime. With his warm folkways and dark ruminations, Van Zandt is like a lost wanderer who can link generations of songwriters, from Woody Guthrie to Nick Cave. On <I>No Deeper Blue</I>, his first studio release in seven years, Van Zandt strings a trail of small and intimate folk-blues numbers that lead us down paths both empty and bright. With "The Hole," a ghost story works as a metaphoric battle with personal demons, whether they be alcohol or depression; in "Billy, Boney and Ma," the graveyard tale takes a comic turn. Songs like the poetic "Hey Willy Boy" and the whimsical "If I Was Washington" build on simple folk conceits and wordplay, while others such as "Goin' Down to Memphis" make effective use of the basic blues form. If, perhaps, the thin, dry voice of the Texan troubadour has limited Van Zandt to being a cult songwriter instead of a recording star, it is that same quiet and understated vocal delivery that adds weight and dignity to his tunes. He's living proof the songs of yesterday's ramblers hold their mystery and charm through the years and despite changing musical fashions. <I>--Roni Sarig</I>

Genere: Country

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Riassunto: <i>Rear View Mirror</i> is one of the first two titles in a live-and-obscure series Sugar Hill began preparing prior to the great folksinger's death. Originally given limited release in 1993, it provides an overview of the songwriter's career, reaching back frequently to his most productive period, 1968-72. Backed by second guitarist Danny Rowland and fiddler Owen Cody, Van Zandt works his way through tunes he'd performed hundreds--perhaps thousands--of times in coffeehouses and clubs from Arkansas to Australia. He does so, however, with enduring verve and veracity. <I>--Steven Stolder</I>

Genere: Country

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Riassunto: Packaged as two albums on one disc, these are among the best of Van Zandt's erratic studio recordings. The first is often overlooked, but it has many songs of dark, marvelous realism, true and accurate as arrows. Kevin Eggers's production is never heavy or busy: he mostly lets the songs breathe beside piano and guitar. And the poetic heights of the title track and "The Highway Kind" are remarkable by any standard. <I>Late Great</I> is important for a little known Guy Clark song "Don't Let the Sunshine Fool You," as well as an orchestrated "Pancho and Lefty" and the sweetly simple "Heavenly Houseboat Blues." Both records show Townes's belief in the abracadabra of words, that their magic is as primary to being human as love and death and kindness and cruelty--those intense qualities that distinguish his work. <I>--Roy Kasten</I>

Genere: Jazz

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Riassunto: Like a gifted actress, Sarah Vaughan always makes lyrics come alive, whether on poignant ballads or buoyant pop novelties. Vaughan "plays" her voice as if it is a "real" instrument, and on this 1955 marvel, she is matched with musicians of an equally high caliber. On "Lullaby of Birdland," she trades harmonically advanced scat lines with Herbie Mann, Paul Quinichette, and Clifford Brown. Vaughan is hauntingly romantic and Brown is at his most lyrical on "September Song." She shows her unbelievable bop-influenced creativity on "You're Not the Kind"; Brown's hard-swinging solo and Quinichette's Lester Young-styled softness set up an incredible ending cascade from Vaughan. Pianist Jimmy Jones's beautiful chords on the infectious "He's My Guy" show why he was one of the most sought-after vocal accompanists, while Vaughan's phrasing, deliberately behind the time, adds perfectly to the relaxed feel. "April in Paris" reveals her operatic quality as Brown's tingling riffs fill in the space behind her. Throughout, Sassy combines exquisite elegance, impressive range, and an effortless delivery. <I>--Marc Greilsamer</I>

Genere: Jazz

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Riassunto: Sarah Vaughan had already mastered the roots of gospel music and the intricacies of bop when her overarching talents led her to be packaged as a pop-singing canary. Fortunately her work with EmArcy allowed for some straight-ahead, unadorned jazz performance, where Vaughan's talent could shine without the frills. On <I>Swingin' Easy</i>, Vaughan is backed by a pair of trios, both featuring the great drummer Roy Haynes, whose supple rhythms give Vaughan's voice the context it deserves. "Shulie a Bop," "Lover Man," "All of Me," "Body and Soul" and "They Can't Take That Away from Me" are masterful performances. <i>--John Swenson</i>

Genere: Blues

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Genere: Rock

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Riassunto: Suzanne Vega emerged in the mid-'80s, and while her intimate voice and acoustic guitar brought to mind Joni Mitchell, her urbane lyrics suggested a sensibility that was as much reportorial as confessional. Vega's second album, which replaced the delicate acoustic textures of her self-titled debut with more dramatic arrangements, includes Vega's career song, "Luka," surely one of the biggest hits ever written about child abuse. But it was the energetic folk-rock production of "Luka," thick with ringing guitars and pushed by perky drums, that let the listener luxuriate in a song that suggested the darkness that can lurk behind a neighbor's door. The title tune confronts personal loneliness with a similarly powerful performance, while "Ironbound/Fancy Poultry" makes a downtown landscape sound downright homey. Well-turned tunes like "Calypso" and "Gypsy" recall the softer textures of her debut. Ironically, Vega's next big hit would come when the English production duo DNA made a dance hit out of "Tom's Diner," a nursery-rhyme tribute to a coffee shop that opens the album. <I>--John Milward</I>

Genere: Rock

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Riassunto: Suzanne Vega remains one of the most relentlessly, mercilessly tasteful recording artists alive. Every note on <I>Songs in Red and Gray</I> has been arranged with the meticulous precision of a butler laying silver on a table. Every sound is so polished and buffed that you barely notice you're listening, every syllable of every lyric only admitted to the melodies after painstaking reviewing and rewriting, and every song sung as if Vega believes that her core audience consists of elocution teachers. This has worked, occasionally, for Vega before--it should not be forgotten what an original presence she was with "Left of Center" and "Marlene on the Wall"--and it works, occasionally, for Vega now. There are a few fine songs here, notably the gently acerbic "Last Year's Troubles" and the wryly subversive "Maggie May" (not the Rod Stewart standard), but there is also a whole lot of glutinous, over-refined suet. Vega still needs to give her songs a much longer leash. <I>--Andrew Mueller</I>

Genere: Rock

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Riassunto: Though not the songs that would put her on the pop music map--that would come with 1987's <I>Solitude Standing</I>--Vega's first album shows her folky songwriting origins and, song for song, may still be her best. Produced by Patti Smith guitarist Lenny Kaye, the sound is softly sculpted by Kaye's silvery guitar and an airy, occaisonal string section, matching the dream-like introspection of "Queen and the Soldier" and the surreal word play of "Small Blue Thing." Vega's philosophical, quiet, but confident approach would open the door for a second generation of female singer-songwriters like Dar Williams and Shawn Colvin. Her debut remains an unassuming sleeper for one of the '80s best folk or pop albums. <I>--Roy Francis Kasten</I>

Genere: Jazz

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Riassunto: On this new studio CD, Brazilian composer/singer/author Caetano Veloso reinterprets classic and contemporary American pop songs. Veloso's feathery, Miles Davis-like, Portuguese-inflected vocals negotiate the English language with silken skill with a 28-piece orchestra led by his long-time arranger, cellist Jaques Morelenbaum--featuring Carlinhos Brown on percussion and Veloso's gifted son Moreno on guitar--over Afro-bossa rhythms and spacey, echoplexed synth/guitar strains. Veloso sings the melody straight on the stunning string-accompanied "Feelings," and on a brave a capella reading of Cole Porter's "Love For Sale." But the fun begins when he reggae-fies Bob Dylan's "It's Alright, Ma (I'm Only Bleeding)," sings "Smoke Gets in Your Eyes" with boppish sax lines and offers a twangy take on Kurt Cobain's "Come as You Are." From Stevie Wonder's "If It's Magic" to Elvis Presley's "Love Me Tender" and Arto Lindsey's edgy "Detached," Veloso shows that he's a master of sonic subversion. <I>--Eugene Holley, Jr.</I>

Genere: Rock

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Riassunto: This comprehensive five-disc retrospective of the Velvet Underground chronicles the band from its earliest demo tapes, recorded in 1965, to Lou Reed's final work with band, in 1970. At their notorious peak, Reed, John Cale, Sterling Morrison, and Mo Tucker epitomized the sound of intellectual art punks being spontaneously creative in Andy Warhol's Manhattan. Rock & roll has never been the same since Reed's gutter-rock observations and Cale's cool, droning electric viola blanketing the band's mysterious three-chord innovations. It's all here: loads of feedback, classic songwriting, and Reed's transformation from Dylan imitator to sonic-rock auteur. With previously unreleased gems, live performances, and other oddities, this is everything you wanted to know about the Velvets but were afraid to ask. --Mitch Myers

Genere: Rock

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Genere: Classical

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Genere: Rock

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Genere: Rock

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Genere: Rock

Durata: 57:32

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Riassunto: Warren Zevon died in 2003, a year after learning he had an inoperable form of lung cancer. He took that year to wrap up loose ends, recording a moving coda to his up and down collection of albums, while being heralded by legions of admirers. This 14-song tribute to the singer-songwriter, coming out a year after his passing, allows for a cooler assessment of his gifts and, guess what? He was one hell of a songwriter. One part fierce rocker, one part slightly abashed sentimentalist, Zevon's lyrical arsenal included humor, sentiment, menace, and general weirdness, all of which he mixed and matched in wild ways. The early hits "Lawyers, Guns and Money" (done here by the Wallflowers) and "Poor Poor Pitiful Me" (recreated by Jackson Browne and Bonnie Raitt) turn bravado on its ear with witty self-deprecation. Pete Yorn’s take on a later gem, "Splendid Isolation," captures Zevon's gift for leftfield pathos, while Jill Sobule’s whispered "Don’t Let Us Get Sick" allows one to bask in Zevon's hardboiled sensitivity; he wanted to allow his spirit to show, but he didn’t want to get stupid about it. This compilation from his last record label was co-produced by Zevon’s son, Jordan (who performs a previously unheard number, "Studabaker") and longtime cohort Jorge Calderon (who movingly recreates Zevon’s so-long song, "Keep Me in Your Heart"). The duo bring together the likes of Bob Dylan, the Pixies, Steve Earle, and Bruce Springsteen to tip their hats to an artist who's songs deserve to live on for decades after his death. --Steven Stolder

Genere: Rock

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Genere: Rock

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Riassunto: There was a time when nobody besides Manfred Mann really bothered to cover Bruce Springsteen songs. All that changed once <I>Born To Run</I> turned the singer-songwriter into an American pop icon. Still, it was in the bleak character studies of 1982's <I>Nebraska</I> that he reaffirmed himself as a literate everyman steeped in the tradition of John Steinbeck, Flannery O'Connor, Woody Guthrie and Bob Dylan. And that's the side of Springsteen that clearly appeals to Johnny Cash, Los Lobos, Hank Williams III and the dozen other artists who participate in this remake of <I>Nebraska</I>. Chrissie Hynde, Ani DiFranco and Deana Carter all deliver haunting performances, but as far as the menfolk go, the album's most striking covers are "bonus" tracks that were recorded for but not released on <I>Nebraska</I>: "I'm On Fire" sounds even creepier with Cash's craggy vocal; the Mavericks' Raul Malo brings out the pop sheen of "Downbound Train"; and "Wages of Sin", in the hands of Damien Jurado and Rose Thomas, shows just how depressing Springsteen can be. All of this makes this a fine companion to the original recording. --<I>Bill Forman</I>

Genere: Rock

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Riassunto: One of the more creative, successful tribute albums, <i>A Vision Shared</i> was originally released to coincide with a PBS program that premiered in 1988. Packing some serious heavyweights onto one CD, the record features covers of Guthrie and Leadbelly tunes by, among others, Little Richard, Brian Wilson, Bob Dylan, Bruce Springsteen, Sweet Honey in the Rock, and U2. The 14 tracks consist of mostly well known tunes, and it's fascinating to hear what the artists have done to them. Particularly exciting is a supercharged version of Leadbelly's "Rock Island Line" by Little Richard with Fishbone and U2's take on Guthrie's "Jesus Christ." <i>--Ian Landau</i>

Genere: Rock

Durata: 63:52

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Riassunto: <I>For Our Children</I> launched in 1990 and in many ways inspired the bounty of celebrity-philanthropy records for kids in its wake. From Bob Dylan and Sting to Barbra Streisand, Paul McCartney, and Elton John, the roster on this cornucopia of great kid songs--and even greater interpretations--has donated all proceeds to the Elizabeth Glaser Pediatric AIDS Foundation. Although tilted toward baby-boomer parents, the tracks have a timeless, ageless appeal. You'll be hard-pressed to find another five-star children's recording this satisfying, including the follow-up effort, <i>For Our Children, Too</i>. Little Richard rocks "Itsy Bitsy Spider," McCartney turns his sweet, melodic gifts toward "Mary Had a Little Lamb," and Bruce Springsteen makes a lively stew of "Chicken Lips and Lizard Hips." Other noteworthy moments include Jackson Browne and Jennifer Warnes doing the Beatles' "Golden Slumbers" and Carole King reprising the Disney <I>Dumbo</I> love theme, "Child of Mine." But surely the crowning touch is Dylan's unforgettable version of "This Old Man," phrased and delivered as only Dylan can with his mercurial invention and powerful character. This belongs in your children's collection. <I>--Martin Keller</I>

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Riassunto: In Their Own Words was the name of a series of performances at New York's<br> Bottom Line, where singer-songwriters gathered in a roundtable, performed their own songs and<br> told stories about their compositions; occasionally, they also performed covers, and described how<br> the songs influenced their own work. Razor & Tie released highlights from these sessions as In Their<br> Own Words in 1994. It has a number of wonderful<br> moments, such as Arthur Alexander's "Anna," Janis Ian's "At 17," Barrett Strong's "I Heard It<br> Through the Grapevine," Shawn Colvin's "That's the Way Love Goes," Joey Ramone's "I Wanna Be<br> Sedated," Jimmy Webb's "Wichita Lineman" and Richard Thompson's "I Feel So Good." Even the<br> performances that don't work, such as Graham Parker's interpretation of Bob Marley's "No<br> Woman, No Cry," are interesting, since they're presented in an intimate setting and are supported by<br> interesting stories. That combination of words and music is what makes In Their Own Words such a<br> fascinating listen for singer-songwriter aficionados. -- Stephen Thomas Erlewine, AMG

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Riassunto: As the Man in Black celebrates his 70th birthday, he looks back on a career not only of legendary performances, but of remarkable songs that capture a bygone America, in vignettes of trains, rivers, rebels, street-corner shoeshine boys, and displaced lovers, moving on, never to return. To honor that contribution, now part of America's musical heritage, more than a dozen luminaries of country, rock, and folk--including Bob Dylan, Bruce Springsteen, and Sheryl Crow--gather to interpret Cash's word portraits of the downtrodden and disenfranchised. Nearly every performance is a keeper, though some deliver a special thrill: Dylan introducing his rendition of "Train of Love" as a song he used to sing before he ever wrote songs himself; Little Richard turning "Get Rhythm" into even more of a rockabilly raver; and Cash's daughter, Rosanne, giving "I Still Miss Someone" a clean, sweet reading that underscores its poignant message. Yet it's Springsteen, in a cover of "Give My Love to Rose," who comes to own the project, laying bare the pain, hope, spirituality, love, and despair that Cash wove into the framework of almost all of his songs. An extraordinary set from, yes, kindred spirits all. <I>--Alanna Nash</I>

Genere: Rock

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Riassunto: <I>Labour of Love</I> casts attention on a facet of Nick Lowe's talent that's surprisingly uncelebrated--his songwriting prowess. Having made his mark as a producer, performer, and sideman, Lowe's skills as a singer-songwriter have been taken for granted, but, as this tribute confirms, Nick has long possessed a knack for mating blissful hooks with pithy couplets. Here an assortment of players and singers from a range of genres tackle Lowe gems dating from his new wave heyday up through his brilliant late-'90s comeback. Proving the adaptability of Lowe's material is half the fun here, as Joe Louis Walker turns the '70s anthem ("What's So Funny 'Bout) Peace, Love, and Understanding" into a midtempo soul lament, "Half a Boy and Half a Man" is transformed by Sleepy LaBeef and C.J. Chenier into a zydeco workout, and "Soulful Wind" is given the deep blues treatment by Guy Davis. With Elvis Costello, Tom Petty, and Dar Williams along for the ride, the 13-song set deftly mixes and matches stars, commendable journeymen, and crack players into a tribute worthy of one of contemporary music's unsung heroes. <I>--Steven Stolder</I>

Genere: Rock

Durata: 1990

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Riassunto: This looked irresistable, mainly for the fact it has such an oddball collection of artists all contributing to an Elvis covers album for charity.
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<br />We get Paul McCartney (a disappointing version of 'It's Now or Never' which adds nothing to the song); a sparky Bruce Springsteen ('Viva Las Vegas'); a loud Lemmy (making 'Blue Suede Shoes' sound just like 'Ace of Spades'); a spiky version of 'Trouble' from Fuzzbox; a lovely version of 'Young and Beautiful' from Aaron Neville; a slick version of 'Crawfish' from the Reggae Philharmonic Orchestra; a lacklustre 'Can't Help Falling In Love' from the usually reliable Hall & Oates; an interesting 'Follow That Dream' from the forgotten Blow Monkeys; an awful 'Rock a Hula Baby' from Pop Will Eat Itself; and a mad and vaguely obscene rewrite of '(There's) No Room To Rhumba In A Sports Car' from Viv Stanshall.
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<br />And as many again from other artists which didn't interest me as much (or provoke any reaction, good or bad). The whole thing is rounded off by the King himself performing 'King of the Whole Wide World' and a good thing too.
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<br />Is this worth your time? Probably, although fourteen years on it sounds like a weird trip in a time-warp at times.
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<br />Will Elvis fans like it? Well, I love Elvis and I think the 'Last Temptation' covers are mainly listenable, so maybe ...

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Genere: Rock

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