Call Me Madam

This quote, which accompanies a vintage photograph of three African American women lifting their hands heavenward, is not only featured prominently in Put the Whole Armour On, a two-CD tribute to 1940s and 1950s female gospel artists, but it serves as an apt prelude to the collection. That is, notwithstanding the prominence of women in African American churches, most denominations did not allow women to become pastors. In response, some females became evangelists, saving souls through street corner oratory as well as gospel music. The 54 selections curated for this collection cover some of the most popular gospel singers of the golden era like Sister Rosetta Tharpe, Clara Ward, and Mahalia Jackson. Included is Jackson’s initial and unsuccessful but plaintively rendered Apollo Records release “I’m Going to Tell God.” The package also introduces lesser-known figures such as Madam Ernestin Martin, Mary Frazier, and Mari Brown, whose lilting voice delicately delivers “Did You Stop to Pray This Morning” with R&B pioneers the Johnny Moore Trio.

JAZZ GREAT BOBBY WATSONcelebrates some of the vital but less well-known contributions of African-Americans on Made in America, his first recording on Smoke Sessions Records. Saxophonist and composer Watson does his part to call attention to black pioneers in a variety of fields, from politics to pop culture, science to sports. These compositions are inspired by a few names that should be familiar to jazz fans&emdash;Sammy Davis, Jr., and Grant Green&emdash;but also by more obscure historic figures such as Wendell Pruitt, Butterfly McQueen, Major Taylor, Madam C.J. Walker, Isaac Murphy, Bass Reeves, and Dr. Mark Dean. Watson explains, “This project has been a history lesson for me and I hope it will be a history lesson for the listeners.”

Jazz great Bobby Watson celebrates some of the vital but less well-known contributions of African-Americans on Made in America, his first recording on Smoke Sessions Records. Saxophonist and composer Watson does his part to call attention to black pioneers in a variety of fields, from politics to pop culture, science to sports. These compositions are inspired by a few names that should be familiar to jazz fans&emdash; Sammy Davis, Jr., and Grant Green&emdash; but also by more obscure historic figures such as Wendell Pruitt, Butterfly McQueen, Major Taylor, Madam C.J. Walker, Isaac Murphy, Bass Reeves, and Dr. Mark Dean. Watson explains, “This project has been a history lesson for me and I hope it will be a history lesson for the listeners.”

Cochin Moon is Haruomi Hosono's fifth solo album. Initially a collaboration between Hosono and illustrator Tadanori Yokoo, of whom traveled to India alongside Hosono; Yokoo ended up only drawing the cover, having been the worst victim of an outburst of severe diarrhea amongst the group during the trip, rendering this as virtually a Hosono solo album. Cochin Moon was written to be the soundtrack of a non-existent Bollywood film, a trait inspired by the artists' trip. The album includes performances by Tin Pan Alley keyboardist Hiroshi Satō and Yellow Magic Orchestra members Ryuichi Sakamoto & Hideki Matsutake.

In the Salinas Valley, in and around World War I, Cal Trask feels he must compete against overwhelming odds with his brother Aron for the love of their father Adam. Cal is frustrated at every turn, from his reaction to the war, to how to get ahead in business and in life, to how to relate to estranged mother.

Widely hailed as the Godfather of Ska, Laurel Aitken dominated Jamaica’s recording industry throughout its infancy, enjoying a series of hugely popular mento and Jamaican R&B hits during the latter half of the 1950s. Early the following decade he relocated to London, where, over the years that immediately followed, he recorded for every Afro-Caribbean record company of note. While his ska and rock steady recordings ensured Laurel remained a firm favourite among Jamaican ex-patriots, the reggae explosion of 1969 exposed his work to a wider audience, with productions for Doctor Bird, Pama and Trojan Records establishing him as a musical hero for many of Britain’s young, white working-classes, notably those that had adopted a fashion style dubbed by the national press as ‘skinhead’.