Big 1986

Ten tunes with an all-star cast including Ronnie Earl (guitar), Kim Wilson (harmonica), Greg Piccolo (sax), Wayne Bennett (guitar), and other excellent players. Plenty of fine guitar, keyboards, harmonica, and uptempo blues music.

Delivered in the wake of Phil Collins' massive success as a solo star, Invisible Touch was seen at the time as a bit of a Phil Collins solo album disguised as a Genesis album, and it's not hard to see why. Invisible Touch is, without a doubt, Genesis' poppiest album, a sleek, streamlined affair built on electronic percussion and dressed in synths that somehow seem to be programmed, not played by Tony Banks. In that sense, it does seem a bit like No Jacket Required, and the heavy emphasis on pop tunes does serve the singer, not the band, but it's not quite fair to call this a Collins album, and not just because there are two arty tunes that could have fit on its predecessor, Genesis.

To hear tenor saxist A.C. Reed bemoan his fate on-stage, one might glean the impression that he truly detests his job. But it's a tongue-in-cheek complaint - Reed's raspy, gutbucket blowing and laid-back vocals belie any sense of boredom. Sax-blowing blues bandleaders are scarce as hen's teeth in Chicago; other than Eddie Shaw, Reed's about all there is. Born in Missouri, young Aaron Corthen (whether he's related to blues legend Jimmy Reed remains hazy, but his laconic vocal drawl certainly mirrors his namesake) grew up in downstate Illinois. A big-band fan, he loved the sound of Paul Bascomb's horn on an obscure Erskine Hawkins 78 he heard tracking on a tavern jukebox so much that he was inspired to pick up a sax himself…

After Count Basie's death, his orchestra went through an expected period of turmoil, almost declaring bankruptcy and having a new short-term leader (the late trumpeter Thad Jones). By 1986 its fortunes had improved and under the leadership of tenor-saxophonist Frank Foster it has become the only "ghost" orchestra to still play viable music after the death of its leader. Long Live the Chief was recorded only weeks after Foster assumed command, but already his arrangements and leadership were giving fresh life to this great jazz institution. In addition to remakes of "April in Paris, " "Lil' Darlin', " "Corner Pocket" and "Shiny Stockings, " there was already some new material in the band's books and this enjoyable CD shows just how strong the orchestra was even during this period of transition.

To hear tenor saxist A.C. Reed bemoan his fate on-stage, one might glean the impression that he truly detests his job. But it's a tongue-in-cheek complaint - Reed's raspy, gutbucket blowing and laid-back vocals belie any sense of boredom. Sax-blowing blues bandleaders are scarce as hen's teeth in Chicago; other than Eddie Shaw, Reed's about all there is. Born in Missouri, young Aaron Corthen (whether he's related to blues legend Jimmy Reed remains hazy, but his laconic vocal drawl certainly mirrors his namesake) grew up in downstate Illinois. A big-band fan, he loved the sound of Paul Bascomb's horn on an obscure Erskine Hawkins 78 he heard tracking on a tavern jukebox so much that he was inspired to pick up a sax himself…