Dean Koonz

Dean Martin finally got access to conductor/arranger Nelson Riddle for an album project, and the result was an easy swinging collection with appealing horn charts and a series of comfortable readings of recent and vintage standards. Especially notable were the two songs borrowed from My Fair Lady, "On the Street Where You Live" and "I've Grown Accustomed to Her Face," which Martin and Riddle re-imagined as straight-forward love songs; "You're Nobody 'til Somebody Loves You" (which Martin would try again in a more contemporary arrangement four years later for one of his biggest hits); and a solo version of "Just in Time," which the singer had recently done with Judy Holliday in the film version of the musical Bells Are Ringing. This Time I'm Swingin'! was a good, confident set by an artist who had figured out how to make competent albums without expending a lot of effort, which was a key to his charm.

A relaxed, easy vocal stylist who clowned with the Rat Pack, developing into an extremely popular ballad singer and light comedian.

Dean Torrence’s The Teammates: Twenty Years Of Making Music 1965-1985 is a curated collection that traverses the decades of the various musical teams Torrence has captained. Whether it was in the producer’s chair, behind the microphone or putting together musical entities, Dean has done it all. This collection includes many of Dean’s rare collaborations with the likes of Mike Love, Jan Berry, Bruce Johnston, Harry Nilsson, and Leon Russell.

Dutch reissue label Disky's Golden Greats series of triple CDs of the works of major pop singers takes advantage of the European copyright law that releases recordings more than 50 years old into the public domain. When it comes to people like Billie Holiday and Judy Garland, that puts a substantial number of the artists' recordings at the label's disposal for no charge. Dean Martin is another story. Something of a late bloomer, he didn't start to take off as a recording artist until 1953, when "That's Amore" became his first gold record. But given that this album was released in 2002, that and Martin's later hits were off-limits to Disky.

Elton is a central figure both in the development of the British jazz scene through the '70s and beyond, and in the rock scene at the time. Known to wider audiences through his connection to the Soft Machine, his sinuous, post-Coltrane lines on alto and the rare saxello appear in many progressive contexts in the period. His compositions were strong too, reflecting an interest in melody and lyricism, and this band is a showcase for the strength of his music. It also demonstrates Elton's abilities as an arranger - the unusual line up extracts gold from these already fine pieces in it's ensemble sonorities. Of course, the band is top-notch, featuring the finest UK saxists of the time, with a wonderful rhythm section. Tony Levin in particular is an undersung hero of the drums.

One of those releases/events that makes you feel like no other music exists for a hot minute, Dean Blunt returns with a second Black Metal album for Rough Trade, delving deeper into his entirely unfathomable yet completely approachable and direct take on visceral x melancholic folk-pop.