Claude Steel

Jerry Lee Lewis - Country Class (1976) & Country Memories (1977) {BGO Records BGOCD1222 rel 2016}
EAC rip (secure mode) | FLAC+CUE+LOG -> 388 Mb | MP3 @320 -> 158 Mb
Full Artwork @ 300 dpi (png) -> 34 Mb | 5% repair rar
© 1976-77, 2016 BGO Records | BGOCD1222
Rock & Roll / Country

Two fine Jerry Lee Lewis albums from 1976 and 1977 The recordings produced the US Country hits ‘Come On In’, ‘Let’s Put It Back Together Again’ and ‘Middle Age Crazy’. Jerry Lee’s longtime relationship with Mercury Records and producer Jerry Kennedy was coming to an end at the time of these recordings, and Lewis was being affected by health problems. However, Kennedy coaxed performances from Lewis, resulting in these very successful albums. Digitally remastered and slipcased, and with extensive new notes.

Elliot Lawrence, who was born in 1925, formed a big band at the very end of the swing era, much too late to make a strong impression. A fine pianist/arranger/composer, Lawrence primarily wrote for radio and television. In the 1950s he recorded quite frequently for such labels as Decca, King, Columbia, Groove, Vik, Camden, and, particularly, Fantasy, cutting six records for the latter label during 1955-1957 with big bands. This CD has all of the music from the LP Swinging at the Steel Pier, five cuts from Plays Tiny Kahn and Johnny Mandel Arrangements (just the Kahn charts), and a few selections from Plays for Swinging Dancers and Dream on…Dance On. The music, which features arrangements by Tiny Kahn, Al Cohn, Johnny Mandel, and Gerry Mulligan, is essentially updated swing along with some melodic dance music.

Since the middle of the 1990s, Beirach has mostly worked with two different trios; together with his musical fellows George Mraz (bass) and Billy Hart (drums), Beirach recorded the album “The Snow Leopard” in 1996. That was followed by “Romantic Rhapsody” and “What is this thing called love”, which showed a fresh view on standards and some own compositions. “No Borders” (2002) focuses on classical pieces as a basis for improvisation, and, on the other hand, also contains a completely composed original composition by Beirach: “Steel Prayers”, a piece for the victims of 9/11. To take classical pieces and open them for improvisation, without depriving them of their character, is also the basic principle in the cooperation with violinist Gregor Hübner. The trio with Beirach, Hübner and again George Mraz on the bass has released three albums with the label ACT. “Round about Bartok”, “Round about Federico Mompou” and “Round about Monteverdi” are each dedicated to the respective composer and try and approach them via improvisation.

Banjo virtuoso Béla Fleck has certainly broken more boundaries than any other picker in recent memory, from his early days performing bluegrass-inspired folk compositions on Rounder in the late '70s to his quirky jazz freak-outs with the Flecktones throughout the '90s. In late 2001, this peculiar innovator released an album of banjo interpretations of classical works by Bach, Chopin, and Scarlatti. Before classical purists roll their eyes, they must remember that the banjo hasn't always been seen as the instrument of choice of backwoods musicians in the Appalachian mountains, but as recently as the 1940s was used as a primary rhythm instrument in all manner of parlor music.