Jackie Orszaczky Beramiada

With Lovesick, Jackie Cain and Roy Kral produced an album that had every bit as much optimism and flower-powered innocence as did any album coming out of San Francisco in the summer of love. But this is decidedly not folk-rock or rock music – it's vocal jazz of the highest degree. It is high-spirited, sexy, life-affirming, sometimes silly, but always wonderful. Jackie Cain proves what a fine singer she is, and Roy Kral shows what a fine pianist he is. Their vocal harmonies are every bit as irresistible as those of Simon & Garfunkel, with the added ingredients of swing and scat thrown in. The duo and their rhythm section truly sound like they are having "A Big Beautiful Ball".

This exciting set from Real Gone Music gathers all of singer-songwriter Jackie DeShannon's rootsy, soulful material from her short period on the Capitol label from 1970-1971, encompassing her sessions at Chips Moman's American Studios and more, and including five previously unreleased tracks.

It takes a few spins to understand, and it is one of this prolific singer's many, many recordings, but when you spend some quality time with You Know Me, it starts unraveling its secrets in ways that only a truly great recording can. "Any Heart" is pure power, with the band weaving textures around Jackie DeShannon's distinctive vocal, the guitar relentless as it sustains the wall of sound. A true labor of love, few artists can produce a song this strong, and the fact that it follows three equally powerful compositions is evidence of the majesty that sweeps across all 14 tracks. "Steal the Thunder" opens the album with authority – the resonating grandeur Eric Carmen's "Hungry Eyes" contained, with a better hook. DeShannon places everything in perfect order, the vocal gliding over a groove that is rock-solid. "Wing Ryder" changes the pace, and you get the idea that this major songwriter is building an album more complex than Carole King's Tapestry – sheer art for art's sake. It ebbs and flows with an elegance younger musicians are too impetuous to seek out. The keyboards and guitars in "Wing Ryder" fuse styles that Fleetwood Mac and the Eagles were employing.

Best Of…1958-1980: Come and Get Me is a generous collection of Jackie DeShannon's biggest hits, important album cuts, and obscure non-LP singles. The keys to DeShannon's talent lie not only in her own songwriting and ability to handle non-originals as if they were her own compositions, but her versatility as a performer. DeShannon's arsenal of orchestrated pop, rockabilly, the Phil Spector-inspired girl group sound, soul, gospel, folk-rock, and country-pop is rivaled by few. She could also pull off sentimental ballads and was believable when in the singer/songwriter mode. There are many peaks in this anthology, including the proto folk-rock of "Needles and Pins" (written by Sonny Bono and Jack Nitzsche) and "When You Walk in the Room" (a sole composition from 1964 that sounds like a Byrds tune as carried out by the Ronettes), as well as the soulful rocker "It's Love Baby" (which features a hot guitar solo) and the initial recorded version of "Bette Davis Eyes" (co-written by DeShannon and later a number one hit for Kim Carnes). A 4,000-word essay by longtime fan Glenn A. Baker rounds out the package.

Esoteric Recordings are proud to release the debut album by Jackie Mcauley on CD in the UK for the first time. A former member of legendary band Them, Jackie teamed up with original Fairport Convention singer Judy Dyble in the acclaimed duo Trader Horne. In 1970 he recorded this stunning debut album for Pye Records Progressive imprint, Dawn. An acclaimed work, it failed to sell in large quantities but has since become a much sought-after album. This Esoteric reissue has been re-mastered from the original master tapes and adds both sides of his 1970 single as bonus tracks.

Jackie McLean was a hard-bop alto saxophonist with a fiery tight tone, who recorded extensively in the ‘50s and ‘60s mainly with Blue Note Records. Although his forays with an organ was confined to two albums with Jimmy Smith Open House and Plain Talk, Cory Weeds’ decision to use an organ on this session does not stray off the mark. Condition Blue accomplishes the band’s intention, to acknowledge a saxophonist who had an exploratory vision. In a set list of either McLean originals, or compositions associated with him, this tight-knit band delivers the goods in firm, yet flexible style. The key players in this session in addition, to the cooly effective altoist Weeds, are Mike LeDonne, a B-3 player of energetic disposition, and creative guitarist Peter Bernstein. Also along is drummer Joe Farnsworth who is a propulsive player.