Tom Ball & Kenny Sultan

Sultan is Londoner with roots in the Caribbean (his parents are of Barbadian and Vincentian descent). He is a product of both Tomorrow’s Warriors and the Julian Joseph Jazz Academy (JJJA). Sultan is the first to admit that he has absorbed the work of many of the greats of the jazz piano – there has clearly been time well spent living with the music of McCoy Tyner, Geri Allen, Herbie Hancock and Kenny Kirkland – but that is only a part of his story. His faith as a young Christian is ever-present, as is his deep appreciation of Black gospel music, bebop, swing, reggae, funk and hip-hop as well as the history of Africa and the African diaspora which are part of his identity.

In the world of jazz guitar, few players can measure up to the skill, stature and sheer influence that Kenny Burrell brought to the genre. With his trademark straightforward playing that fused jazz and blues beautifully, this pioneer featured on hundreds of albums, both as leader of his own groups and as a much in-demand sideman for others. Often hailed as the greatest guitarist in the world - he was the personal favourite of the legendary B.B. King - Burrell's playing has gone on to permanently change the way in which the instrument is approached and, in so doing, has influenced generation after generation of likeminded musicians. This four disc collection, containing eight fully remastered albums, provides the perfect introduction to one of the finest and most innovative musicians still active today.

As Detroiters like Kenny Burrell, Pepper Adams, and Tommy Flanagan were migrating to New York in the mid-'50s in a modern jazz takeover, Pittsburgh drummer Kenny Clarke made known his intentions to support these new Young Lions by being their drummer of choice. This album is nearly the same as the equally excellent and highly recommended effort Kenny Clarke Meets the Detroit Jazzmen, save one extra selection. Burrell is the ostensible leader on this six-track set, but the members of this finely honed quintet (including dual Detroit/Pittsburgh claimant citizen bassist Paul Chambers) can all take equal roles, and eventually would as frontmen in their own right…

There is a certain charm to an album like this from a historical standpoint, particularly for anybody who still wanted a more flashy and fun style of metal/rock that cut against the "Alternative" ideal of dumbed down songwriting and morose or mundane lyrics about how much the world sucks, because this is about as clear of a rejection of the decade it was born from that one could find. It embodies the same sort of fantastical escapism that would occupy the early days of lighter, fantasy-oriented bands like Freedom Call and Edguy while also being a bit more retro in character, perhaps most closely dovetailing with the somewhat later reformation and restyled incarnation of Domain…

Kenny Rankin sings like Chet Baker would have if Baker had had a voice. His tone is high (Rankin's speaking voice is actually fairly low) and he has a subtle, cool style. It is a bit of a surprise, but Rankin (whose previous output has been in pop music) is actually a fine jazz singer. He always sticks to the lyrics when performing veteran standards (there is no scatting), but changes many of the notes, even during the melody statements, and he is definitely improvising. Rankin's concept is kind of strange ("At Last" and "The Very Thought of You" are radically changed) but successful and he has a strong and likable voice.

With a genuine hit to his credit, Kenny Loggins decided to stretch himself a bit on Keep the Fire, hiring Tom Dowd and toughening his sound slightly, adding a more flamboyant production in the process. He also decided to look like Doug Henning on the cover, which may be a surer sign that success had started to go to his head. All this resulted in a self-consciously tougher record than either of its predecessors, with a punchy sound, detailed production, and shades of boogie. Relying more on original material, this winds up being more uneven than Nightwatch, but it boasts more character, even if that means something as silly as "Mr. Night." Also, the record, though clearly presented as a relative band effort, complete with a photo of the supporting band on the back cover, winds up not being as unified as its two predecessors, even if it's more "band-like"…

Kenny Neal, born in New Orleans and raised in Baton Rouge, began playing music at a young age. Learning the basics from his father, singer and Blues harmonica master, Raful Neal, Kenny is known as a modern swamp-blues and multi-instrumentalist, that draws from the sizzling sounds of his native Louisiana. Kenny's 2016 release, Bloodline, was nominated for a Grammy for Best Contemporary Blues Album and also won 2 BMAs (Blues Music Awards); one for Best Contemporary Blues Album and the other for Best Contemporary Male Blues Artist. Kenny Neal, a true living blues Legend is THE REAL DEAL and more poised than ever to deliver the blues like no one else can!

Marcia Ball got things started in a celebratory fashion on her debut Rounder release, doing the title track in a taunting, challenging manner aided by flashy guitar riffs from Stevie Ray Vaughan. From there, she artfully displayed other sides of her personality, from dismayed to defiant and assured. Her rendition of "Soul On Fire" was heartfelt, but didn't approach the majestic quality of Lavern Baker's original. She did much better on "I Don't Want No Man," striking the air of disdain and dissatisfaction that Bobby "Blue" Bland immortalized on "I Don't Want No Woman"; guitarist Kenny Ray even got the Wayne Bennett licks down perfectly.