a Time For Ballads

Issued in time for Valentine's Day 2005, Ben Webster for Lovers collects 11 of the tenor giant's best ballads from his Verve period. Readings of "My Funny Valentine," "Someone to Watch Over Me," "Where Are You," "Love Is Here to Stay," and "Time On My Hands" are the standouts, but nothing here is superfluous. The only track that should have been included that wasn't is Webster's read of "Chelsea Bridge" from Music for Loving, the single most moving ballad he ever recorded. This set works well for its intended purpose, but it functions just as well as a stellar set of ballads by one of the jazz genre's finest practitioners of the form.

DISCO SESSIONS features 2 CD’s of classics from the genre. Unlike the majority of Disco compilations it also features a number of lesser known classics from the same period which helped shape the sound of the scene, together with early 80’s club floorfillers that continued to fly the flag long after Disco had become a by-word for naff stateside. The overall result is two very danceable CD’s that should help soundtrack any party you care to throw.

On a New Street might be the ne plus ultra of the group's post-1960s achievements. A "lost" album from the sweetest period of Thom Bell's storied career, the Bell side captures producer and vocalists at the peak of their powers. Gourdine's recognizably pinched vocal tones contrast with those of, say, Philippe Wynne of The Spinners or Russell Thompkins, Jr. of The Stylistics, but Bell instinctively knew how to surround that voice with a soft cushion of soulful accompaniment provided by MFSB. Throughout the five songs on "The Thom Bell Side" of On a New Street, Gourdine has ample chance to fly solo, with The Imperials contributing their impeccable harmonies at just the right moments.

When producer Chris Albertson brought Lonnie Johnson and guitarist Elmer Snowden into a studio for this album on April 9, 1960, both musicians hadn't recorded in a number of years. Indeed, Snowden hadn't seen the inside of a studio in 26 years, but you'd never know it by the fleet-fingered work he employs on the opening "Lester Leaps In," where he rips off one hot chorus after another. Johnson plays a dark-toned electric while Snowden plays acoustic, with Wendell Marshall rounding things out on bass. Given Johnson's reputation as a closet jazzer, it's remarkable that he merely comps rhythm behind Snowden's leads on "C-Jam Blues" and "On the Sunny Side of the Street." Johnson handles all the vocals, turning in an especially strong turn on the second take of "Stormy Weather." Lots of studio chatter make this disc of previously unissued material a real joy to listen to, a loose and relaxed session with loads of great playing and singing to recommend it.