Shining Hour

Larry Coryell will always be best known for arguably being the first fusion guitarist, but his career has been quite wide-ranging ever since the late '60s. On Shining Hour , he mostly sticks to jazz standards other than his own "Floyd Gets a Gig" and Brian Torff's "Apathy Rains." Several of the selections are identified with Miles Davis including "Nefertiti" and "The Sorcerer" but there are also hard swinging versions of "All the Things You Are" and "My Shining Hour." Coryell, whose playing works well in this (for him) rare setting although he is not really a boppish improviser, interacts with pianist Kenny Barron (who sometimes takes solo honors), bassist Buster Williams and drummer Marvin "Smitty" Smith.

This is one of popular entertainer Sammy Davis, Jr's best jazz-oriented albums, featuring Davis with the Count Basie Orchestra performing arrangements by Quincy Jones. Unfortunately, the personnel of the Basie band is not given, but the orchestra mostly acts as a prop behind Davis much of the time anyway. The singer is heard in top form on "Teach Me Tonight," "Work Song," and "Keepin' Out of Mischief Now" and adding a bit of tap dancing to a lighthearted "Bill Basie Won't You Please Come Home." Some of the more poppish tunes, such as "Blues for Mr. Charlie" and "She's a Woman," are a bit dated, but, in general, fans of Sammy Davis, Jr will want this set.

The combination of Damian Wilson and Adam Wakeman has never disappointed and this eloquent album continues that trend. Key to their artistic success is an understanding of songwriting and a defiant resistance against overplaying…

The combination of Damian Wilson and Adam Wakeman has never disappointed and this eloquent album continues that trend. Key to their artistic success is an understanding of songwriting and a defiant resistance against overplaying. Instead, the songs collected here are raw and direct, with the arrangements deliberately restrained and infused with a simple beauty. Laugh In Time is a seductive ballad that’s reminiscent of Cat Stevens at his finest, and the darkly amusing Blackpool Clip Joint Racket possesses the grandeur of early Billy Joel. Indeed, throughout The Sun Will Dance In Its Twilight Hour, there’s a rare consistency to the music, which mixes a contemporary approach with early-70s concise inspiration. Opener The Last American Hero, with an impossibly catchy chorus, is an upbeat tale of an airman and astronaut, and On This Battlefield is similarly direct. The inclusion of Travis guitarist Andy Dunlop alongside seductive strings only enhances the appeal. Impeccably pitched and performed, it’s an album with the potential – given the right exposure – to cross over to mass public appeal.