Charles Guyette

The elusive Chicago harpist's one and only full-length album, originally issued on Steve Wisner's short-lived Mr. Blues logo and later picked up by Rooster Blues (but not available on CD as yet). Cut in 1975, this set shows that Charles never left the 1950s stylistically – backed by a nails-tough combo, he pays tribute to both Sonny Boys and his ex-boss Jimmy Rogers while betraying more than a hint of Little Walter influence.

Digitally remastered and expanded three CD deluxe edition of this 1972 album housed in a cardboard replica of a wooden box. Includes a remastered version of the original album with a wealth of unreleased material recorded during those sessions and others recorded at Bearsville Studios throughout 1974. The set closes with a newly unearthed, 30-minute interview Charles did that was recorded shortly before the Bobby Charles album was released in August 1972.
Hooking up with the Band, specifically Rick Danko and their producer John Simon, was one of the smartest moves Bobby Charles ever made. His subsequent eponymous album on Bearsville not only gave him a bigger audience, but led to the perfect production for his sly, subtle blend of New Orleans R&B, rock & roll, and country…

These four CDs represent the most creative period of Ray Charles’ life – roughly 1954 to 1962. He died in 2004 and, at the time of his death, was working on a duets album which was released, very appropriately, as Genius And Friends. When the excellent bio-pic, Ray was released with Jamie Foxx, one of the straplines was a quote from Frank Sinatra, “Ray Charles is the only genius in our business.”

Charles Mingus did not perform on the final sessions he made for Atlantic toward the end of his life. Too ill with ALS to pick up his bass, he nonetheless was a powerful presence in the studio. The arrangements and orchestrations were realized by trumpeter Jack Walrath based on Mingus's tapes and piano sketches. The huge band can get a bit unwieldy, and the arrangements, which feature a solo from Larry Coryell, do tend to pander a bit to the fusion audience. In spite of these drawbacks, the half-hour "Three Worlds of Drums" is great, overdone though it may be.

Along with its companion volume Changes One, this is one of the great sessions from one of the best working bands of the 1970s. Starting with the spirited "Free Cell Block F, 'Tis Nazi U.S.A," this volume also includes the vocal version of "Duke Ellington's Sound of Love" with guest singer (and acquired taste) Jackie Paris, a remake of the classic Mingus composition "Orange Was the Color of Her Dress, Then Silk Blue," Jack Walrath's "Black Bats and Poles," and Sy Johnson's "For Harry Carney." The challenging repertoire from these December 1974 dates sustained the Jazz Workshop for several years; these are the definitive performances.