Charlie

Another anthology that has less value due to the exploding reissue market. These cuts were among Parker's most influential compositions and performances, but they've been reissued many times, both in anthology packages and on re-releases of their original albums. But it's part of the Essentials sampler line, and if you only want a little Parker, it's a good choice.

Charlie Byrd's second album as a leader features the acoustic guitarist in a trio with bassist Keeter Betts and drummer Gus Johnson. One side of this LP finds the trio interpreting four swing-era standards (including "Blues My Naughty Sweetie Gave to Me" and "Jive at Five") while the flip side consists of the three-part suite "Blues for Night People." Listeners only familiar with Byrd's bossa-nova performances may find this early recording (which predates the emergence of Jobim) a bit of a surprise although the lyrical guitarist is easily recognizable.

Perhaps it was the presence of bassist Charlie Haden, but this trio set has more energy than one normally associates with the other members of the group (Jan Garbarek on tenor and soprano and Egberto Gismonti doubling on guitar and piano). The trio performs group originals and an obscurity during the picturesque and continually interesting release; this combination works well.

Harmonica ace Charlie Musselwhite falls between the more obvious generations of blues players, younger than its elder statesmen but considerably senior to young hot-shots like Jonny Lang and Kenny Wayne Shepherd. How, then, can he find a fresh hook to his music without resorting to attention-grabbing gimmicks? Except for two songs featuring producer/guitarist Cesar Rosas of Los Lobos, Charlie Musselwhite's 1997 album, Rough News, doesn't have any famous guests, but it stands out from the harmonica whiz's long and deep discography nonetheless. Musselwhite has pared down his sound so radically that every instrument has become a rhythm instrument. When these lean, groove-based arrangements are applied to tunes as simple and catchy as "Both Sides of Fence," "I Sat & Cried" and "Natural Born Lover," the results jump at the listener with the bare-basics excitement of early rock & roll.

Like many teenagers, Charlie Sexton lusted after rock stardom – the only difference was, he had a chance to pursue his dream. Sexton certainly looked like the part, with his high cheek bones and pompadour, but since he was living in the '80s instead of the '50s he worshipped, his producers decided to push him toward new wave for his debut album, Pictures for Pleasure. The teenaged guitarist had been bashing out blues and roots-rock around his native Austin, Texas, but the market for that music was limited – hence the decision to layer the record with drum machines and synthesizers.

This LP contains two broadcasts featuring Charlie Parker at Boston's Storyville club in 1953. one set finds him accompanied by the Red Garland Trio (two years before Garland became famous playing with Miles Davis) while the other one also features trumpeter Herb Pomeroy and a trio led by pianist Sir Charles Thompson. The recording quality is just so-so but Bird was in fine form for these sessions, playing hot versions of his usual repertoire.