Capo Plaza Richard Mille (feat. Lil Tjay)

This, Vivaldi's very first opera, was premièred in Vicenza in 1713 and was an instant hit. The story is a relatively uncomplicated one by the standards of Baroque opera, of amatory pretences and misunderstandings: it has been admirably summarised by Eric Cross (who has edited the work) as a 'light-weight, amoral entertainment in which the flirtatious Cleonilla consistently has the upper hand, and gullible Emperor Ottone (a far from heroic figure) never discovers the truth about the way he has been deceived'. The score proceeds in a succession of secco recitatives (with just a very occasional accompagnato) and da capo arias – which the present cast ornament very stylishly.

The band's wildly energetic and seriously soulful CD Jump Start is jam-packed with Lil' Ed's incendiary slide playing and rough, passionate singing, as the ragged-but-right Blues Imperials cook like mad alongside him. It is a tour-de-force of untamed slide guitar, rock solid rhythms, heartrending ballads and authentic deep blues vocals. Williams wrote or co-wrote 13 of the album's 14 songs, ranging from the non-stop boogie blast of "If You Were Mine" to the heart-on-his-sleeve honesty of "Life Is A Journey" to the bouncing and jazzy "Jump Right In" to the swaggering, autobiographical "Musical Mechanical Electrical Man." The album overflows with the band s full throttle drive and is fueled by Lil' Ed's love of both serious blues and good time fun.

This is the third and final volume in the complete recordings of Lil Green in chronological order as reissued by the Classics Blues & Rhythm Series. By 1947 Lil Green was beginning to sound more than a little like Ida Cox, even when handling songs from Tin Pan Alley rather than straight up out of the tried and true traditional blues repertoire. Comparisons could also be drawn between Lil Green and Nellie Lutcher or Julia Lee. While her "crossover" performances are worthwhile, there's nothing quite like hearing this woman savor the flavor of Bessie Smith hits like "Aggravatin' Papa," "Outside of That," and "You've Been a Good Old Wagon (But You Done Broke Down)." Green's own "Lonely Woman" has a powerful undercurrent running through it – there is even a remote possibility that Ornette Coleman was inspired by this record when conceiving his own composition of the same title in 1959. Even if the link is purely coincidental, these melodies have something wonderful in common. Green's final recordings for the Victor label are strengthened by the presence of tenor saxophonists Budd Johnson, Lem Johnson, and David Young.

The sixth release from the veteran foursome is another rollicking, electrified romp through old-school Chicago boogie blues. Lil' Ed Williams is the nephew of, and was schooled by, slide guitar legend J.B. Hutto, so it's no surprise that the Blues Imperials' sound is driven by the high-octane, raw, bottleneck attack popularized by Hutto and the great Elmore James. Both are covered here, and even though Williams's originals adhere to the standard blues format, the energy generated by this live-in-the-studio recording could power a small city. You can practically see the sweat dripping down Ed's fez-covered head as he charges through the humorous yet driving "Icicles in My Meatloaf" and the fast shuffle of "Broken Promises"…

This blues-oriented set has the feel of a jam session. Bassist Willie Kent and Lil Ed Williams split the vocals on a date that features contrasting guitar voices in the relatively clean Eddie C. Campbell and the more distorted playing of Williams; both have plenty of solo space. Pianist Allen Batts and drummer Baldhead Pete Williams are quite solid behind the lead voices who get to stretch out on the basic but highly appealing material. Who's Been Talking, which includes songs by Howlin' Wolf, Elmore James and J.B. Hutto in addition to the newer songs, is easily recommended to modern blues collectors.

Sometimes the bloodlines show up and at other times they explode with a fanfare that shows itself to the world. Lil' Ed Williams traces his heritage back to his uncle, one of the Chicago blues legends, slide guitar master J.B. Hutto. He was tutored by his uncle, and the West Side Chicago blues scene that nurtured him, and readily gives J.B. much of the credit for his prowess. He captures some of that same raw street energy that was his uncle's trademark on many of the tracks on this, his fifth Alligator release. Listen to "The Creeper" to get an idea of the savage fury that he can channel through his slide guitar work. This disc manifests that feel for the blues that can't be taught, but must be both lived and seen from the inside…

Wild & greasy blues at its best, a two-song session for an anthology turned into an all-night, live-in-the-studio jam. Sounds like it was great fun.
Signing to Alligator in the mid-'80s, they released their debut album, Roughhousin', in 1986 and found themselves receiving national attention. They began playing urban clubs and festivals all over the country and eventually toured Canada, Europe, and Japan.