In December 1975, Grammy award-winning songwriter John Prine played three nights at The Other End (previously and now known as The Bitter End) in Greenwich Village, NYC. The acoustic performances featured some of his best-known songs such as “Angel From Montgomery” and “Hello In There”, from his first four studio albums: John Prine (1971), Diamonds In The Rough (1972), Sweet Revenge (1973) and Common Sense (1975).
John Hicks is heard with his working trio on what is likely his final recording, made two months to the day prior to his unexpected death. With bassist Buster Williams and drummer Louis Hayes, also seasoned veterans and bandleaders themselves, the set list for this well-recorded studio session is a hard bop lover's feast, drawing from both familiar and less frequently heard repertoire. Hicks throws quite a few curves into Gigi Gryce's "Minority" by tossing in a few vamps then getting right to business with improvising rather than bothering to offer a chorus of its theme, with Williams' fleet bassline and Hayes' brushwork powering him in full flight. The leader's sole original is a salute to Cedar Walton, an upbeat piece called "As Birds Fly (Walton's Mountain)" in which the musicians easily scale its heights. The bassist contributed two originals, including the lush, somewhat moody "Strivers Jewels" and the delicate tribute to his then-young niece "Christina." Hayes is an asset throughout the recording, particularly standing out in the powerful interpretation of Dexter Gordon's "Cheesecake".
The Australian guitarist John Williams has long been universally recognized as a true master , to quote the Guardian. The centrepiece of Sony s new reissue of his Bach recordings is formed by the Suites for solo lute. Also contained on these 4 CDs are Williams s inspired transcriptions of the E major Violin Concerto (with the English Chamber Orchestra), preludes and fugues, chorales and movements from various suites. John Williams is a superb technician, wrote MusicWeb International, and justifiably deserves the accolades heaped on him during his long career. His rendition of these works is most authoritative and executed with admirable fluidity.
Good Night Songs documents a 2003 concert by a trio of two saxophonists—John Tchicai and Charlie Kohlhase—with guitarist Garrison Fewell. Though the lineup is unusual, the results are mesmerizing throughout this two-disc set. Tchicai rose to prominence in the 1960s avant-garde scene in New York. He recorded with Albert Ayler, Don Cherry, John Coltrane, and even John Lennon and Yoko Ono. Forty years later he continues to produce music that is pure, passionate and beyond categorization.
John Mayall has been playing blues literally for my entire lifetime and at 64 years old proves that he's still among the best. On this CD, Mayall displays the many blues attitudes of which he is capable. Lately, many of his songs decry urban decay and violence. He continues here in that vein with the hard-driving Dead City and the old Eddie Harris R&B song, How Can You Live Like That. Stone Cold Deal is a shuffle driven by saxophone, organ and drums. Its infectuous rhythm will have you dancing and its incisive lyrics will have you thinking. My other favorites are the title cut on which Mayall's prowess on the piano is showcased, One In A Million which is a rocking paean to his beloved mother, and I Don't Mind, a song in the rollicking piano-driven Southern style for which Mayall is justly famous. There isn't anything I really dislike on the album though It Ain't Safe and Some Other Day seem out of place and Trenches, though lyrically gripping, is musically weak. If you are a blues fan, you are sure to like Blues For the Lost Days, another strong effort from master bluesman John Mayall.
In the penultimate episode of his widely popular and critically acclaimed HBO series, Painting with John, its creator, John Lurie, sat in a Manhattan recording studio, working out musical parts for the show’s soundtrack. “After the illness started, I didn’t think I’d ever be able to do this again,” said Lurie.