Flawless 1999

The best qualities of Gilbert’s account are its spirit and energy, and (even more pleasing in some ways) its fertile imagination. That’s evidenced in his handling of the repeats and in the astonishing range and ingenuity of voicings and dynamic gradations, which helps to ensure that your interest and attention remain focused throughout. Where some interpreters make pretty heavy weather of the work, Gilbert often approaches it with a rare sense of fun and vitality: hear for yourself in Variations 7 or 11. That’s not to suggest there’s anything flippant that could gloss over the formal mastery and intellectual concentration of these Goldbergs.

In a way, the Ramones are an ideal band to anthologize. No matter how cohesive their records were (or not), their albums always played like collections of singles and since singles are easy to anthologize, it stands to reason that the best of the Ramones' songs will sound good in nearly any context; hell, the haphazard Ramones Mania proved that. However, Rhino's double-disc Hey! Ho! Let's Go: Ramones Anthology has much greater goals than being just another collection – it strives to be the final word on the Ramones.

In this final recording with pianist Michel Petrucciani, saxophonist Grossman's usually more extroverted tendencies are willingly sublimated in order to play more romantically inclined mainstream jazz. Many of the tunes are ballads, embellished by Petrucciani's languid or forceful pianistics, while solid bassist Andy McKee and drummer Joe Farnsworth keep the flickering flame alive with their steadying rhythms.
Of course the fire has to be stoked on occasion, and Grossman really digs in on the Sonny Rollins evergreen "Why Don't I?" It's perfectly played, a flawless uptempo swinger with head nodding, bluesy elements. Contrasting easy swing with double timed tenor on "Don't Blame Me" shows Grossman as riled up as he gets on this date…

Siloah (1970). In 1970 Manuela, Tiny, Thom and Wolfgang were living and playing together in Munich. Under the name of Siloah they released a now highly sought-after LP whose master tapes are lost. In 1993 it was released on CD for the first time (Lost Pipedreams LP 013 CD), but unsufficiently decrackled and without any bonus tracks. Now at last there is a flawless re-issue of it including everything recorded at that time - even the track from the extremely rare "Release" sampler as well as their 7'' "Mit Tiny nach Tanger", of which only one copy was made. But what is most impressive is the 28-page booklet in colour, which leaves nothing to be desired. Siloah’s second album, "Sukram Gurk", recorded with a new line-up in 1972, is soon to follow. Dag Erik Asbjørnsen: "Siloah made two LPs, regarded as among the most frenzied on the German underground scene"…

Pianist Keith Jarrett goes it alone on The Melody at Night, With You. No stranger to solo recitals, here Jarrett tackles familiar standards along with a few traditional pieces and as we come to expect, the performances are near flawless. Part of the beauty and majesty of it all lies within Jarrett's penchant for understatement and ebullience while possessing an astounding sense of depth and range. Throughout this recording, Jarrett has seemingly decided to forego any semblance of dramatics as he vividly sets the scenario for the listener along with the partner of his or her choice as they may sit in front of a soft burning fire under dim lights.

Valentin Silvestrov is not just the Ukraine’s most prominent composer but also a major voice in the music of our time: a quiet voice, to be sure, and one that some will pigeon-hole at the soft-core end of the New Spirituality. But even a first encounter should suggest the presence of deeper perspectives, and encounters with the full range of his music only serve to confirm that impression. Russian commentators have long since ranged Silvestrov alongside Schnittke, Gubaidulina and Denisov as one of the most important figures that came to maturity in the 1970s. It was then that he produced music such as the two Cantatas – the earlier one for soprano and chamber orchestra, setting words by Tyuchev and Blok, the later one for a cappella choir to verses by Ukraine’s national poet, Taras Chevchenko. Both works blend Webernian angularity with an ecstatic lyricism.

The Atomic Fireballs were formed in Detroit in 1996 by John Bunkley and James Bostek. The two of them met when Bostek's wife was working with Bunkley and introduced them. Although the group plays their own brand of high-energy swing music, they list their influences to be as far ranging as Louis Jordan and Black Flag. The lineup of the group is Bostek on trumpet, Bunkley on vocals, Tony Buccilli playing trombone, Duke Kingins on guitar, Shawn Scaggs on double bass, Eric Schabo wailing tenor sax, and Randy Sly on piano. Their first album was the self-released Birth of the Swerve (1998). The album was good enough to garner the interest of major labels. That meant that the follow-up, 1999's Torch This Place, was not an independent release but rather on Atlantic.

Jesse Winchester - Gentleman Of Leisure (1999) {Sugar Hill Records SHCD 1062}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 305 Mb | MP3 @320 -> 118 Mb
Full Artwork @ 300 dpi (png) -> 23 Mb | 5% repair rar
© 1999 Sugar Hill Records | SHCD 1062
Rock / Folk Rock / Folk / Americana

From the opening vocals of the almost rockabilly "Club Manhattan," the undeniably excellent songwriting of Jesse Winchester makes its way back into our collective psyche. Backed by an unparalleled group of musicians, and with guest appearances from such musical dignitaries as the Fairfield Four, Jerry Douglas, Steve "The Colonel" Cropper, and Vince Gill, Winchester has assembled a highly enjoyable album, filled with the same magic his past releases all possessed. The kind of musical and lyrical genius that has caused dozens of artists to record his music gets into some funky blues territory with "Sweet Little Shoe," and downright beautiful with "That's What Makes You Strong," featuring the lap steel guitar work of Jerry Douglas, who also acts as producer for the album.