Padurea Spânzuratilor 1965

What Every Girl Should Know (1960). When Doris Day entered the recording studio to make her annual LP in December 1959, she was arguably at her peak as a movie star, having seen the release two months earlier of Pillow Talk, the first of the frothy comedies she would make in the late '50s and early '60s. But as a recording artist, she seemed to be in trouble. Since 1957, when both Day by Day and the soundtrack to The Pajama Game, in which she starred, made the Top Ten, she had not cracked the album charts, failing with Day by Night (1958) and Cuttin' Capers (1959). Unfortunately, What Every Girl Should Know was not the album to reverse this pattern. The concept, as expressed in Robert Wells and David Holt's 1954 title song, was the offering of advice to females, much of it, as it happened, written by men…

Stunning early work from trumpeter Ted Curson - a record that's got as much soul and rock-solid power as you'd guess from the image on the cover! Ted's working here in the company of his frequent partner from the early days - tenorist Bill Barron - and together, they come up with a riveting sound that rivals the genius of early 60s work from Charles Mingus or Booker Ervin - with a similar blend of sharp edges, tight rhythms, and in the pocket soul! The rest of the group features Georges Arvanitas on piano - making a rare American appearance - plus Herb Bushler on bass and Dick Berk on drums.

The Fugs First Album (1965). A loping, ridiculous, and scabrous release, the Fugs' debut mashed everything from folk and beat poetry to rock and rhythm & blues - all with a casual disregard for sounding note perfect, though not without definite goals in mind. Actually compiled from two separate sessions originally done for Folkways Records, and with slightly different lineups as a result, it's a short but utterly worthy release that pushed any number of 1964-era buttons at once (and could still tick off plenty of people). Sanders produced the sessions in collaboration with the legendary Harry Smith, who was able to sneak the collective onto Folkways' accounts by describing them as a "jug band," and it's not a far-off description…

To follow up on his unexpected boogaloo hit "The Sidewinder," Lee Morgan recorded Andrew Hill's somewhat similar "The Rumproller" but this time the commercial magic was not there. However the trumpeter, tenor-saxophonist Joe Henderson, pianist Ronnie Mathews, bassist Victor Sproles and drummer Billy Higgins all play quite well on the title cut, two of Morgan's songs (the bossa nova "Eclipso" is somewhat memorable), a ballad tribute to Billie Holiday and Wayne Shorter's "Edda."

The great incontrovertible truth of Brazilian vocalists in the '60s is that the more global success they enjoyed, the weaker and more insubstantial their voices. (As a test, simply compare and contrast the chart-topper Astrud Gilberto with the chart-absent Elis Regina.) Wanda de Sah was quite popular, which says most of what you need to know about her vocal prowess, both on the material she recorded with Brasil '65 as well as her solo career. But as with Astrud Gilberto, vocal weakness is hardly a barrier to entry. When given complementary musicians and arrangements - which were as common as coffee in Brazilian music circles - a thin, wispy voice could be made to sound positively radiant. DRG's 2008 pairing of Brasil '65 and Softly!, the two albums de Sah appeared on during 1965, reflects her peak year as an artist….