June music reviews

Solomon Burke: The very best of

Rhino/Warner

Solomon Burke was a soul singer before the term “soul’ was invented. Singing his gospel-inspired soul ballads, Burke was a regular in both the R&B and pop charts from 1961 through to 1968. He never seriously dented the upper reaches of the pop charts (his highest chart placing was #22 with Got to get you off of my mind in 1965) but was regularly in the top 20 of the R&B charts.

Today, Burke is perhaps best remembered for his 1961 hit Just out of reach (of my two empty arms) and the Wilson Pickett-penned If you need me, a R&B #2 hit from 1963. The Rhino CD uses the original mono single mixes, as songs were often remixed or even re-recorded for LP. So what you have here is what you would have heard on black radio in the 1960s.

The songs common to this CD and the multi-disc Atlantic Rhythm and Blues 1947-74 sound better on this compilation (I understand that the Rhythm and Blues set has been upgraded and remastered to a higher standard than my copy). My sample of the Burke CD has a fault (visible on the CD) that stops my CD player from playing the last track. Potential purchases may wish to check their copy before leaving the store.

A great compilation from a largely overlooked soul singer. Michael Jones

June Christy: Something Cool - The Complete Mono and Stereo Versions

Capitol Jazz/Blue Note

I love the classic female jazz singers, they just reach me somehow. You know, the usual suspects - Billie Holliday, Ella Fitzgerald, June Christy, Sarah Vaughan etc. What do you mean you've never heard of June Christy? Well here's your chance.

Something Cool brings together two versions of the same album, the mono recording released in 1955 and a stereo album of the same songs released in 1960. In combination you have just over 68 minutes of classic, straight jazz singing by a lady with impeccable pitch, wonderfully controlled vibrato and a way of inflecting a lyric with her own personality.

June has a smooth, sultry voice that is perfectly suited to the songs tackled here. Having cut her teeth singing for Stan Kenton’s big band  in the late 40's and early 50's (filling the chair vacated by Anita O'Day no less!) by the time Something Cool came along she was ready to make her definitive solo statement. The title song, Christy’s signature piece, is a stunningly written tale telling the painful story of somewhat alcoholically disorientated woman, slightly past her prime being picked up (or is she doing the picking up?) in a fairly sleazy bar. Pretty racy for 1955 and still full of impact today.

Pete Regolo’s big band arrangements bring freshness to the songs and give the album an edginess and vitality 50 years or so after the first recording.  (Check out the orchestration on Lonely House - amazing.) Also worth listening for are some nice solo's from Bud Shank on Alto. I don't have the room to compare the different versions of each song but it's a very interesting exercise.

So there you have it. A somewhat forgotten singer who has never the less left a lasting legacy. For those that enjoy the great American songbooks, you really should add this to your collection. If you don't you'll never hear possibly the best version of "Midnight Sun" ever recorded. That's done it, you've just got to hear it now don't you? Good, it's well worth the effort. Craig Fenemor

Miles Davis: Birdland 1951

Blue Note

Honey, I shrunk the hi-fi (cries of joy from the kitchen). It’s strange to have your expensive equipment compressed to a mono radiogram. The funny thing is you don’t really mind when the music is some of the best and engaging bebop from one of the most influential jazz musicians.

By 1950, the jazz centre of the world was New York and “the jazz corner of the world” was a club on Broadway between 52nd and 53rd Streets. The Birdland Club hosted most of the great musicians of the day and the live radio broadcasts from the club have made these recordings possible. From 1950 to 1953 Miles was unable to secure any recording contracts due to his heroine addiction, so he played at different clubs to make a crumb and support his addiction. What is significant about this release from Blue Note is that it contains previous unreleased material.

The disk contains three live sets from February, June and September of 1951. On The Birth of Cool, the track Move was released as a short, two and half minute opener, but the live version here is blown out to over six minutes. In fact the disc has three renditions of Move from each of the sets and it makes an interesting study into how Miles treatment of the tune evolved. While this not considered Miles best stuff, I found the performances engaging and in places exhilarating. The final set in particular is satisfying, and Miles solos during Move and Lady Bird are wonderful. Unfortunately, the previously unreleased material from February 1951 has some tape artifacts but they are isolated to sections of the recording.

The CD is nicely packaged and contains a warning about the primitive quality of the recording, but this is unlikely to deter true fans. While the sound may have shrunk, my appreciation of Miles Davis certainly hasn’t. Richard Nelson

Deep Purple: The Early Years

EMI

Appropriately named, The Early Years is a compilation of the bands first three albums; Shades of Deep Purple, The Book of the Taliesyn and Deep Purple. The first three albums were all produced during a twelve month period in 1968 and 1969. The lineup was Richie Blackmore, guitar; Jon Lord, organ; Ian Paice, drums; Rod Evans, vocals and Nick Simpler on bass. Shortly after recording the third album, Rod Evans and Nick Simpler were replaced by Ian Gillian and Roger Glover.

This album contains a number of remixes and alternate takes. Of note is the monitor mix of the bands first single, Hush. The version is rougher but more energetic than the usual mix. Mandrake Root is a testament to psychedelia where Jon Lord’s organ sets the pace. I’m so Glad is a big step towards progressive rock.

Ideas must have been waning by the second album with the Neil Diamond hit Kentucky Woman released as a single. The alternate take on this album has an organ solo to save it, but I find it scary how similar Rod Evans vocal is to Diamond’s. Richie Blackmore cuts loose on the blues shuffle, Wring That Neck. The Early Years shows a band uncertain of its direction, producing a mix of psychedelia, progressive rock and blues influenced rock.

Anyone who has explored early Deep Purple will have already made up their mind about the first three albums. Metal heads will be disappointed but fans of early prog rock and psychedelia will find something to interest them. Deep Purple Mk 1 could have gone many paths, but then we would have missed out on Deep Purple Mk 2, a band that brought us Smoke on the Water and defined Heavy Rock. Richard Nelson

Bob Dylan: The Bootleg Series Vol 6

Columbia/Sony

This is a real time capsule. Imagine being about to go back in time and hear Bob Dylan perform live in 1964. This was when many of his famous songs were still fresh – before they became overplayed and too well known. This was before his voice deteriorated from too many concerts and too many cigarettes.

Recorded in the Philharmonic Hall in October 1964, the concert finds 23 year old Dylan in fine form and extraordinarily good humour. Most of the concert is just Dylan, his guitar and harmonica, with Joan Baez joining for four songs.

Throughout the concert Dylan is laughing and giggling. At one stage he forgets the lyrics to one song, plays the music to the first verse before asking if anyone in the audience could remember the words.

Sonically the recording is more than fine. There’s a raw and unpolished feel to the recording, including a few bumps and other noises. But this adds, rather than detracts from the experience.

A wonderful time capsule. Michael Jones

Diana Krall: The Girl in the Other Room

Verve

A real “grower“ this one. While the myriad subtleties can and will consign this to the recycle bin for a lot of reviewers, those who persevere will rejoice once again in the phenomenal Diana Krall. Somewhat against the pack I have always enjoyed her piano even more than her at times outstanding vocals [me too–Editor], and while with this album the piano takes the back seat too often for my liking, in the main the quality of the songs themselves and the wonderful accompanying artists more than makes up for any short-coming.

The CD starts with the extreme cool of Mose Allison’s Stop This World, which does feature an excellent Krall piano solo, while Tom Wait’s Temptation proves to be an album highlight with the bonus of some superb bass work form Christian McBride. Elvis Costello’s classic Almost Blue receives an even better interpretation from his wife. The Smither/Raitt Love Me Like Man is the albums not-quite-there track, just needing the two handed blues piano treatment of a Gene Harris or Charles Brown to lift the energy to the required level.

I’m Pulling Through receives the classic Krall performance, piano focused and a smokey musing. The remaining Krall/Costello collaborations show a huge Costello influence with both the melodic shape (even though Krall is largely credited with the music), and the lyrics are very, very Costello. That not being a bad thing!

Venturing more into song-writing than we have previously seen, no-doubt encouraged by her song-writing genius husband who co-wrote a number of tracks, this is much more of a singer-songwriter album than the previous jazz encounters, despite the stellar line up of fellow jazz musicians and the Verve label itself. Hearing Krall interpreting the likes of Joni Mitchell, Mose Allison, Tom Waits, and Chris Smither alongside her own material, shows Krall confidently moving into a new genre with a confidence that will reward her huge fan base as well as encouraging a new audience. Beautifully recorded. Recommended. Allan McFarlane

G3: G3 Live

So where's Eric Johnson?

That was the first question after reading the track list from the latest G3 CD/DVD recorded live from the 'band's' 2003 North American tour.

Coming after the successful first CD/DVD set, you could be forgiven for thinking that Satriani, Johnson and Vai would team up again as G3 - wrong!  New show - new band!

In fairness the new line-up is probably a better 'fit' with the three, Satriani, Vai and new recruit Yngwie Malmsteen making up a kind of 'dream team' of hard rock guitar protagonists. The new CD is rock-solid even if G3 live is something of a marathon show in comparison to the original G3 release, that featured Eric Johnson as the tasty filler between the shred-fest that is Satriani and Vai.

But something is missing - it could be the repetition of live Satriani tracks available elsewhere (Always With Me-Always With You/Potato Head Groove Thing); or perhaps Vai and Malmsteem's overly indulgent  fretboard impersonation of Mariah Carey's 'too-many-notes' vocal ramblings or maybe the lack of visuals that renders G3 Live a musical marathon.

At least, each artist gets a solo spot before joining in on a jam session covering Hendrix to an inspired (if tame) version of Neil Young's Rockin' in the Free World (a potent choice given the current global climate!)

You have to know this material before stepping into this 2CD set - and while it is a genuine thrill to hear slightly different solos/interpretations of over familiar tracks, it may be heavy going for the uninitiated.

They won't admit it easily, but 2003's G3 lacks some soul and just maybe, that was precisely what absentee Eric Johnson brought to the show. Max Christoffersen

Lyle Lovett: My Baby Don't Tolerate

Curb/Lost Highway

Seven years is a long time but that's how long I've had to wait for a new album of Lyle Lovett originals. Oh sure, he's released a couple of great albums in the mean time, Live In Texas and covers album Step Inside This House, and one or two other fillers but there's nothing like a genuine Lovett written song. Finally in my hot little hands I find My Baby Don't Tolerate and all is well with the world.

Sounding for the most part as country as he has since 1987's Pontiac (although Road To Ensenada was heading this way as well), this is a good fix for his fans. I've often thought that (relatively) recent Lovett albums offered a prismatic view of country music. The white light of pure country was shined in one side and out the other come the rainbow of contributing genres. This album though seems to concentrate more on mainstream country with a couple of white man’s gospels to round it off.

As for songs, of the fourteen tracks only 12 are new (The Truck Song and San Antonio Girl were released on Anthology Volume 1) and of those only one strikes me as a classic. You Were Always There, written after the sudden death of his father, is vintage Lyle Lovett and belongs up there with his best efforts. There's some good lines throughout the album and I enjoy his dig at Nashville in On Saturday Night but overall this won't be the album that I grab for when I feel like listening to Lyle.

My view certainly isn't universal and you only have to look as far as last month’s reviews for confirmation of that fact. My Baby Don't Tolerate is certainly enjoyable but if you're new to Lyle I'd suggest trying Live in Texas or Joshua Judges Ruth to get a really good grip on an important artist. But hey, you'll never know if you don't give it a listen and as any Lyle Lovett fan will tell you: “What would you be if you didn't even try, you have to try.” Craig Fenemor

Jenny Morris: Listen – The Very Best Of

Warner Music Australia

The first time I saw Jenny Morris sing was with the Crocodiles at the local A&P show in 1980. I recall two things; Bruno Lawrence drumming and Jenny Morris singing Tears. I remember thinking at the time that she had a great voice. I was right. Listen – The Very Best of Jenny Morris brings together her hits from her short solo career during the late eighties and early nineties. Over that time she had three albums, Body and Soul, Shiver, and Honeychild and all of the tracks on Listen are from these albums. In fact nearly all of the tracks on this release were on the 1992 release The Best of Jenny Morris (The Story So Far). Well, the story hasn’t changed and I get the feeling that the record company is trying to squeeze the last dollar out of this once great talent.

This compilation is poorly arranged, placing all of her top hits at the beginning and, after the first half dozen tracks, the album peters out. I found it difficult to listen all the way through. I really enjoy Jenny’s silky voice and the funk rock beats, but this album just brings me to tears. Richard Nelson

Alecia Nugent

Rounder

As bluegrass legend Eddie Stubbs (WSM Grand Ole Opry Announcer) said, "Alecia Nugent possesses one of the most honest, refreshing, and believable voices I've heard in many years. I truly believe she is destined for female vocalist and album of the year awards." Featuring support from bluegrass luminaries Rebecca Lynn Howard, Rhonda Vincent, Carl Jackson (also the producer), Ron McCoury, and Ben and Sonya Isaacs, this startling album marks the debut of a new pure-country star. More nasal and twangy than the sugary sounds of Alison Krauss and the like, if bluegrass is your thing don’t hesitate to search this self-titled CD out. Definitely a talent to keep an eye on. Allan McFarlane

George Shearing/Nancy Wilson: Swingin's Mutual

Blue Note Records

This 1960 recording has already enjoyed a reasonably popular reissue over a decade ago. At the time I felt that this was one from the vaults that those who discovered it on the 1960’s would lap up, and they did, while the rest of us were better off finding finer releases from either artist. This recent reissue hasn’t changed my view. Strictly for those with associated nostalgia. (For Ms Wilson, check out the sublime Nancy Wilson with  Cannonball Adderley, for Mr Shearing try one of the later Concord recordings). Allan McFarlane

Ravel: Suite No. 2 from Daphnis et Chloe: Pavane pur une infante defunte; La Valse; Five Nursery Rhymes (Mother Goose); Bolero

Paavo Jarvi/Cincinnati Symphony Orchestra 

Telarc

Another Telarc quandary. While the sonics are mostly excellent, in final analysis the performances just don’t quite have the edge in a very crowded field. These are meticulously prepared performances and if that is your main requirement this would be worth seeking out. For me it is a clinical perfection that leaves me begging for an excitement and risk taking that would have added the visceral energy required, particularly in places like the final pages of La valse and Bolero. The Pavane is spectacularly well played and recorded, but this is one of those pieces that is hard not to bring off. Overall I would suggest you look elsewhere. I reached for my well-cherished Dutoit and Karajan recordings to restore fond memories of the pieces. Allan McFarlane