Jim

The ever-elusive Americana maverick Jim White returns with his most upbeat, hallucinogenic record to date.

Give Jim Belushi and Dan Aykroyd credit for at least one thing: the subtitle of "Big Men - Big Music" to their 2003 album, Have Love Will Travel, is pretty fun, and partially accurate. The two comedians-cum-retro-bluesmen are indeed big men, and they at the very least have a big band: the back cover features no less than 12 musicians, including the duo, begging the question of just how much does the Have Love Will Travel Revue actually pull in per gig. That's a question better settled by accountants and auditors, of course, but a lot of musicians does mean that the music at the very least sounds busy, even if it doesn't necessarily sound big. But that's really no change from Aykroyd's previous musical excursion, the Blues Brothers, who always utilized a big band to make faithful music.

Esoteric Recordings is pleased to announce the release of Open Your Heart – The Island Recordings 1972 – 1976, a new re-mastered four-disc clamshell boxed set (comprising 3 CDs and a DVD) by the legendary JIM CAPALDI.

James Joseph Croc was an American folk and rock singer-songwriter. Between 1966 and 1973, he released five studio albums and numerous singles. During this period, Croce took a series of odd jobs to pay bills while he continued to write, record, and perform concerts. After he formed a partnership with songwriter and guitarist Maury Muehleisen, his fortunes turned in the early 1970s. His breakthrough came in 1972; his third album, You Don't Mess Around with Jim, produced three charting singles, including "Time in a Bottle", which reached No. 1 after his death. The follow-up album, Life and Times, included the song "Bad, Bad Leroy Brown", which was the only No. 1 hit he had during his lifetime.

The four-disc box set Dear Mr. Fantasy digs deep into Jim Capaldi’s legacy, providing a thorough overview of the musician best known as Steve Winwood’s sparring partner in Traffic. Appropriately, there is a hefty chunk of Traffic here along with a good sampling of his solo albums, plus a fair number of rarities ranging from his first group the Hellions to the pre-Traffic bands Revolution and Deep Feeling and a previously unreleased collaboration with George Harrison called “Love’s Got a Hold of Me.” It’s a generous set that will satisfy the devoted while providing several surprises to those who have looked no deeper than Traffic but were always curious about what else Capaldi had to offer.

Guitarist Jim Hall is the sort of musician who displays such technical expertise, imaginative conception, and elegance of line and phrase that almost any recording of his is worth hearing. Still, Concierto ranks among the best albums of his superb catalog. For starters, the personnel here is a jazz lover's dream come true. Paul Desmond (saxophone), Chet Baker (trumpet), Roland Hanna (piano), Ron Carter (bass), and Steve Gadd (drums) are on board, creating – along with Hall – one of the highest profile lineups ever put to tape. Yet Concierto is not about star power and showboating. As subtle, nuanced, and considered as any of Hall's output, the ensemble playing here demonstrates great group sensitivity and interplay, giving precedence to mood and atmosphere over powerhouse soloing. Conductor and arranger Don Sebesky evinces a chamber ambience from the sextet on "You'd Be So Nice to Come Home To," the smoky "The Answer Is Yes," and the Hall centerpiece "Concierto de Aranjuez".

Released for the first time on this 1999 Challenge CD, this live set features the unusual duo of guitarist Jim Hall and valve trombonist Bob Brookmeyer, two-thirds of the 1957 Jimmy Giuffre Three. Although there are occasions when one of the musicians accompanies the other one, much of the time Hall and Brookmeyer function as equals, improvising together on a set of standards plus an ad-lib blues called "Sweet Basil." Their ability to improvise while thinking of the whole picture and their knack for spontaneously harmonizing really come in handy during this intriguing and frequently exciting outing. Among the selections reborn in the playing of Hall and Brookmeyer are John Lewis' "Skating in Central Park," "Body and Soul," "Darn That Dream," and "St. Thomas." A successful effort that should not have taken 20 years to release.

Don’t rush for those Blue Suede Shoes just yet, the Carl Perkins sitting in with Jim Hall on our first of his featured albums “Jazz Guitar” is the piano playing Perkins. Alliteratively speaking! Born in New York in 1930 this first album for Jim Hall as leader, also features Red Mitchell on bass. “Folk Jazz” under the leadership of Bill Smith, finds Jim alongside clarinettist Bill Smith with Monty Budwig on bass and the legendary Shelly Manne behind the drums. The album is somewhat of a reflection of the traditional folk background of Bill Smith. “Good Friday Blues” introduces us to the “Modest Jazz Trio”. Jim Hall on guitar of course, Red Mitchell on piano and Red Kelly on bass on a date from 1960.you could almost call it the Reds meet the Blues! All three albums have been digitally re-mastered for probably the finest ever sound quality.

This recorded, intimate document was recorded at Jazz Beat during the Montreal Jazz Festival in 1990 and sees its first official release on this Impulse! volume. Bassist Charlie Haden and guitarist Jim Hall played a number of duet concerts together over the years, but this was certainly among the very earliest. Given their respective careers up to this point, both men had nearly perfected the artistry of playing in this particular chamber jazz setting. That all said, it does not prepare the listener for the canny, intimate, yet absolutely electric interplay on offer here. From readings of standards such as "Bemsha Swing," "Body and Soul," and Skylark" through to Ornette Coleman's "Turnaround" and excellent originals by both men - including Haden's bookends, the tenderly dissonant "First Song" and the knotty "In the Moment," and Hall's sprightly melodic Latin waltz "Down from Antigua"…