Deathwatch (1966)

El Sonido Nuevo is a popular collaboration between vibraphonist Cal Tjader and pianist Eddie Palmieri (who provided the arrangements). Despite the claims of greatness expressed in the liners ("a landmark in the history of Latin jazz"), much of the music is actually quite lightweight although enjoyable enough, and the easy listening melodies and accessible rhythms hold one's interest. Despite the changing personnel, Tjader is generally the lead voice, and he is in fine form even if the overall results are not all that memorable or unique.

Otis Redding's now historic four-night stand at Hollywood's Whisky a Go Go in April of 1966 has been selectively documented on two previous releases. The first was 1968's In Person at the Whisky a Go Go, which included ten selections chosen from the run. Good to Me: Recorded Live at the Whisky a Go Go, Vol. 2, released in 1982 and expanded for CD release in 1993, was also assembled from various nights. This release is very different. No mere attempt to milk a few more gems from a legendary set of gigs, Otis Redding & His Orchestra Live on the Sunset Strip contains three full sets on two discs from that stand. It's a warts-and-all, rowdy, magical set of performances that reminds the faithful of Redding's singular gifts as a singer and performer, and will open the ears of the uninitiated…

A spotty but basically worthwhile three-disc set, Collectables' 1966-1967 Unreleased Masters Collection scours the International Artists vault for previously unreleased songs, alternate takes, rehearsals, and demos of songs that appeared on The Psychedelic Sounds of the 13th Floor Elevators and Easter Everywhere, and a couple of live cuts for good measure…

Oscar Peterson augmented his regular working trio of the time (bassist Sam Jones and drummer Louis Hayes) with Henley Gibson on congas, Marshall Thompson on timbales, and Harold Jones as an added percussionist for this release, which focuses mostly on the music of Brazilian composers (so the title Soul Espanõl is a bit misleading). With the surge of interest in bossa nova and samba, Peterson's interpretations of songs like "Manha de Carnaval," "How Insensitive," "Meditation," and "Samba de Orfeo" have stood up very well against similar jazz recordings of the mid-'60s. Peterson's "Soulville Samba" has a gospel flavor, while his "Sensitive Samba" is more laid-back; Vincent Youmans' decades-old "Carioca" also fit in nicely. This is an enjoyable, if not essential, part of Oscar Peterson's considerable discography.