La Matriarca The Libertine (1968)

Wes Montgomery acceded to the whims of producer Creed Taylor for this, one of the very first CTI productions that would, over the next decade, popularize jazz with string backdrops or rhythm & blues beats. Much to either the delight or chagrin of urban or traditional jazz fans, the music changed, and Montgomery was in the middle, though his delightful playing was essentially unchanged. On the plus side, the legendary guitarist was allowed to collaborate with great musicians like bassist Ron Carter, pianist Herbie Hancock, flutist Hubert Laws, and percussionist Ray Barretto. While the small orchestral trappings never dominate this session, the seeds for a more grandiose style of music had been planted with the release of this date in 1968…

The group's second album was virtually a re-creation of its predecessor, only slightly more sophisticated in its range of songs and the manner of playing them, and the in-house writing had improved, though the latter also became highly derivative. Steppenwolf the Second embraces everything from hard rock to psychedelia to blues, and the band is in excellent form, playing very hard and edgy, except on the deliberately lyrical, reflective "Spiritual Fantasy," a rare acoustic number for the group.

"Connie & Clyde - Hit Songs Of The Thirties" is a studio album recorded by U. S. Entertainer Connie Francis. Allegedly inspired by the success of Arthur Penn's 1967 motion picture Bonnie & Clyde, Connie Francis decided in March 1968 to record an album of songs from the depression era. To compile a repertoire of songs with the most appeal to the listener, Francis interviewed several contemporary witness about the hit songs from that era and finally made her choice. The album's title is a word play on the outlaw duo Bonnie and Clyde, two of the most remembered personalities of the era.

The group's second album was virtually a re-creation of its predecessor, only slightly more sophisticated in its range of songs and the manner of playing them, and the in-house writing had improved, though the latter also became highly derivative. Steppenwolf the Second embraces everything from hard rock to psychedelia to blues, and the band is in excellent form, playing very hard and edgy, except on the deliberately lyrical, reflective "Spiritual Fantasy," a rare acoustic number for the group.

An integral member of the nonpareil Muddy Waters band of the 1950s and '60s, pianist Otis Spann took his sweet time in launching a full-fledged solo career. But his own discography is a satisfying one nonetheless, offering ample proof as to why so many aficionados considered him then and now Chicago's leading post-war blues pianist.

The guitarist's first album away from Chess - and to be truthful, it sounds as though it could have been cut at 2120 S. Michigan, with Guy's deliciously understated guitar work and a tight combo anchored by three saxes and pianist Otis Spann laying down tough grooves on the vicious "Mary Had a Little Lamb," "I Can't Quit the Blues," and an exultant cover of Mercy Dee's "One Room Country Shack."

Child Is Father to the Man is keyboard player/singer/arranger Al Kooper's finest work, an album on which he moves the folk-blues-rock amalgamation of the Blues Project into even wider pastures, taking in classical and jazz elements (including strings and horns), all without losing the pop essence that makes the hybrid work. This is one of the great albums of the eclectic post-Sgt. Pepper era of the late '60s, a time when you could borrow styles from Greenwich Village contemporary folk to San Francisco acid rock and mix them into what seemed to have the potential to become a new American musical form. It's Kooper's bluesy songs, such as "I Love You More Than You'll Ever Know" and "I Can't Quit Her," and his singing that are the primary focus, but the album is an aural delight…