Cristopher Clark

Sonny Clark's fifth Blue Note recording as a leader is generally regarded as his best, especially considering he composed four of the seven tracks, and they all bear his stamp of originality. What is also evident is that he is shaping the sounds of his quintet rather than dominating the proceedings as he did on previous dates. Tenor saxophonist Charlie Rouse and trumpeter Tommy Turrentine play very little harmony on the date, but their in-tune unison lines are singularly distinctive, while bassist Butch Warren and young drummer Billy Higgins keep the rhythmic coals burning with a steady, glowing red heat. Among the classic tunes is the definitive hard bop opener "Somethin' Special," which lives up to its title in a most bright and happy manner, with Clark merrily comping chords. "Melody for C" is similarly cheerful, measured, and vivid in melodic coloration…

Iconic guitarist Jimmy Raney and legendary pianist Sonny Clark’s paths crossed only during a European tour promoted by Leonard Feather in 1954, which included concerts in several countries and also allowed Feather time to organize a few studio dates here and there.
Jimmy Raney (guitar) and Sonny Clark (piano) are featured with Costa Theselius (tenor sax), Red Mitchell/Simon Brehm (bass) and Bobby White/Elaine Leighton (drums).

Gene Clark’s 1974 masterpiece gets the reappraisal it’s long overdue. On the eve of what would have been American singer-songwriter and Byrds founding member Gene Clark’s 75th birthday comes the reissue of one of his finest works, No Other. Released in 1974 on Asylum Records, a year after the Byrds short- lived reunion, Gene reached for the stars with No Other; a psychedelic rock, folk, country and soul record that famously cost a small fortune to make…

Originally recorded for Capitol Records in his pre-Hee-Haw days (1963), this is Roy Clark's instrumental album, an all-guitar fest that showcases the country artist's amazing chops. Kicking off with a warp-speed version of "Twelfth Street Rag" that actually gets doubles in tempo by the final chorus, this album features a brace of generic "twistin''' instrumentals (read: public domain tunes given a twist beat) like "Texas Twist," "Weeping Willow Twist," "Wildwood Twist" ("Wildwood Flower"), "Golden Slippers," and "Over the Waves," rocked up cha-cha's like "Pink Velvet Swing" and Bob Wills' "A Maiden's Prayer," and boogies like the closing "Chicken Wire." Produced by Ken Nelson and sounding for all the world like it was cut in a single afternoon session, this should open up anyone's eyes and ears who thinks of Roy Clark only as a belly scratchin' fool, telling corny jokes and singing sappy love ballads.

A unique figure in British music, Anne Clark is a singer and lyricist who works in both electronic and acoustic music, performing literate but emotionally charged songs of contemporary life.
Arguably her strongest overall release, this EP goes hard on the chilly synths except for the first track that's dominated by organic instrumentation. Thing is, even that composition is constructed as if the violins and such are emulating minimal cold synth-work. A unique track that doesn't lighten up concerning the tense, gloomy topics.
Anne's spoken word delivery gets a better mix than in her earlier days, sharper tone and a crystalline clarity that stands out from the soundscapes without overwhelming them. Thus this album sounds super-cold, almost menacing at times…