It's touching that Charles Mingus, on what would be his last appearance on record as a bassist, should have hooked up once more with Lionel Hampton, with whom he first recorded almost 30 years to the day earlier in 1947. It's upbeat, bright, and chirpy, like Hamp's vibes, and Mingus' inimitable sense of line comes through the somewhat horn-heavy band lineup without difficulty (Mingus' last working band, featuring Jack Walrath on trumpet, Ricky Ford on tenor, and pianist Bob Neloms, is augmented not only by Hampton but also by Paul Jeffrey's tenor and Gerry Mulligan's distinctively gruff baritone), but it all somehow lacks the depth – acoustically as well as musically – of other great late Mingus albums such as Changes One, Changes Two, and Cumbia & Jazz Fusion.
After emigrating from their native jungle into the cities streets of Hell's Animals, the quartet of monkey, crocodile, piranha and vested, shade and cap-sporting hippo decide to swim with the sharks for the third Risk full-length, Dirty Surfaces…
Henry Hill is a small time gangster, who takes part in a robbery with Jimmy Conway and Tommy De Vito, two other gangsters who have set their sights a bit higher. His two partners kill off everyone else involved in the robbery, and slowly start to climb up through the hierarchy of the Mob. Henry, however, is badly affected by his partners' success, but will he stoop low enough to bring about the downfall of Jimmy and Tommy?
Mike Oldfield, watch out. This all-instrumental album, consisting of two long pieces ("Slow Dance Parts 1 and 2") that mix new age sounds with rock, crosses into territory staked out most successfully by the tubular bell-ringer, and comes off as sort of Windham Hill with a beat. This material features clarinet, oboe, flute, trumpet, harp, and percussion as well as guitar, and it does sort of resemble the spacy synthesizer interludes and bridges found as parts of the longer pieces on Genesis's progressive-era albums…