Mike Heron Smiling Men With Bad Reputations

Morgan's seventh album for the Black Top imprint brings some new and welcome twists to the mix. First is the production chores being handled by label head Hammond Scott. Second is the return of harmonica ace/vocalist Lee McBee after a three-year hiatus from the lineup to pursue a solo career. The third notable feature is the abundance of fine original material. Rather than a set of bandstand ready-mades, you can tell some time and work went into the production of this album. McBee's harp work is as strident as ever, and Morgan's guitar still maintains its blazing Texas fury, but framing it with a horn section here and there, Riley Osborne on piano and Hammond B-3 organ and Rhandy Simmons subbing on bass for six of the 11 tracks keeps this album from ever getting samey or predictable. Particularly noteworthy are "Bad Luck and Trouble," "You're Gonna Miss Me" and the title track.

If poet-cum-prophet Gil Scott-Heron taught us anything, it was to find your own truth. Which is precisely what Giacomo Gates does on this 10-track foray into the vast and fertile jungle of Scott-Heron songs, sermons and soliloquies. Gates could have covered pieces like “The Revolution Will Not Be Televised,” “Johannesburg,” “We Almost Lost Detroit,” “Angel Dust” and “B-Movie,” all among Scott-Heron’s best works, none of which have lost their sting.

Johannes Ockeghem (c. 1420-1497) was one of the most celebrated musicians of the fifteenth century and one of the greatest composers of all time. He was every bit the equal of J.S. Bach in contrapuntal technique and profound expressivity, and like Bach able to combine the most rigorous intellectual structure with a beguiling sensuality. His two dozen songs set French lyric poetry in the courtly forms of his era—rondeau, virelai, and ballade—to exquisitely crafted polyphony in which all voices are granted equally beautiful and compelling melodies.

Crack all the jokes you want about Mike Oldfield and his Tubular Bells becoming the hit theme song for The Exorcist. While Oldfield is an amazing guitarist who could play with the best of them, with a lithe synth touch that became a trademark, the bottom line is that the man is a serious composer. All the proof one needs apart from his own records like Incantations and Hergest Ridge is this killer movie score. While Oldfield used a purely Western and neo-classical formal approach to write the music for Roland Joffé's dramatization of true events, his musical mates were among the best in the business at helping him to bring it off: David Bedford wrote arrangements and directed the choir, while Eberhard Schoener helped to conduct and direct another choir (!) and master percussionist Morris Pert lent his talents to the mix as well…