Phillip Hallam Baker

The Bottom Of The Top (1973). There weren't many blues albums issued during the early '70s that hit harder than this one. First out on the short-lived Playboy logo, the set firmly established Walker as a blistering axeman sporting enduring Gulf Coast roots despite his adopted L.A. homebase. Of all the times he's cut the rocking "Hello My Darling," this is indeed the hottest, while his funky, horn-driven revival of Lester Williams's "I Can't Lose (With the Stuff I Lose)" and his own R&B-drenched "It's All in Your Mind" are irresistible. After-hours renditions of Sam Cooke's "Laughing & Clowning" and Long John Hunter's "Crazy Girl" are striking vehicles for Walker's twisting, turning guitar riffs and impassioned vocal delivery…

The Bottom Of The Top (1973). There weren't many blues albums issued during the early '70s that hit harder than this one. First out on the short-lived Playboy logo, the set firmly established Walker as a blistering axeman sporting enduring Gulf Coast roots despite his adopted L.A. homebase. Of all the times he's cut the rocking "Hello My Darling," this is indeed the hottest, while his funky, horn-driven revival of Lester Williams's "I Can't Lose (With the Stuff I Lose)" and his own R&B-drenched "It's All in Your Mind" are irresistible. After-hours renditions of Sam Cooke's "Laughing & Clowning" and Long John Hunter's "Crazy Girl" are striking vehicles for Walker's twisting, turning guitar riffs and impassioned vocal delivery…

A quick glance at the heading tells the knowledgeable reader that most of what we have here are well-known lollipops. They exist in literally hundreds of recordings. Everybody will have his/her favourite pieces played by one or several of the violin greats through the last eight decades. The reissue of this twenty-year-old recital at budget price poses the question: is it worth adding yet another collection? The answer should be an unequivocal “Yes!”, since Chung is one of the stars of fairly recent times. Even before putting the disc in the CD player one knows that these will be technically impeccable readings, played with great musicality, refinement and commitment – elegant but never bland.

A quick glance at the heading tells the knowledgeable reader that most of what we have here are well-known lollipops. They exist in literally hundreds of recordings. Everybody will have his/her favourite pieces played by one or several of the violin greats through the last eight decades. The reissue of this twenty-year-old recital at budget price poses the question: is it worth adding yet another collection? The answer should be an unequivocal “Yes!”, since Chung is one of the stars of fairly recent times. Even before putting the disc in the CD player one knows that these will be technically impeccable readings, played with great musicality, refinement and commitment – elegant but never bland.

Grammy Award-winner Alex Klein, former principal oboist of the Chicago Symphony Orchestra, performs sonatas that signify the oboe’s 20th-century reemergence as a brilliant solo instrument. One of the world’s most famous oboe players, Klein says he waited to acquire a professional lifetime’s worth of experience before putting his stamp on the six sonatas heard here.

Walker remains in fine form on this 1995 set, a mix of remakes of past triumphs ("Hello, My Darling," "Hey, Hey Baby's Gone") and fresh explorations. Two distinct bands were utilized - a New Orleans crew populated by bassist George Porter, Jr., and his funky cohorts, and an L.A. posse with more of a straight-up swinging feel.

Phillip Walker delivers 11 prime cuts of funky, down-to-earth blues on this easygoing release. He is backed by some fine musicians, including guitarist Derek O' Brian and grunting saxman Mark Kazanoff. The songs are well crafted; "My Name Is Misery" is as down and out as it gets, the title cut takes Walker back to his roots with lots of brooding guitar and passionate lyrics, and "I'd Rather Be Blind, Crippled and Crazy" is about that dreadful heartbreak we've all felt. Then there's "Seemed Like a Good Idea at the Time," a New Orleans style rocker in the best sense with a little added social commentary thrown in for good measure. This is groove oriented music. It's not about flashiness, it's about telling it as Mr. Walker sees it and he sees it as it is.