Dill 2.5

This is an enjoyable reissue from the RCA Chet Atkins catalog, combining two adjoining albums – The Guitar Genius and Chet Atkins and His Guitar – from the mid-'60s onto one very clean if spare CD, with no annotation or session information. Guitar instrumental fans will probably find more to like in the 12 songs off of Chet Atkins and His Guitar than the ten from The Guitar Genius – which are weighted down with vocals a bit too frequently – but it's all a serious sonic pleasure, very clean and bright, if at times a bit too languid for rock & roll, though the version of "Heartbreak Hotel" here will even impress fans on the latter level.

Rap is considered today's modern urban music, but its roots reach far into the past as this provocative project shows. The rapping technique has been present in many American musical genres, for 100 years or more, including early rural music, both black and white, religious songs, blues, ragtime, vaudeville, and hokum. This album features rap precursors by such legendary figures in American music as Blind Willie Johnson, Pine Top Smith, Memphis Jug Band, Butterbeans and Susie, Seven Foot Dilly & his Dill Pickles, Dixieland Jug Blowers, Jimmie Davis, Blind Willie McTell and more! A highly entertaining and provocative exploration into early American musical history.

The last of four albums recorded by this madcap New York City band co-led by Phillip Johnston and Joel Forrester, Beauty Based on Science ends their all-too-brief career on a high note. As usual, the pieces take their cues from a multitude of sources, including film noir soundtracks, Ellington, barrelhouse blues, and Steve Lacy, all performed with an odd combination of homage and tongue-in-cheek, spiced with a liberal dose of free jazz in the solo work. The near-obligatory tango shows up in Johnston's slyly titled "Waltz of the Recently Punished Catholic School Boys." Their horn arrangements are possibly richer than ever, shown to great advantage in compositions like "Come From Behind" (a small classic and frequent live performance highlight) and Johnston's "Rocky's Heart." Forrester's bouncy, infectious "Lobster in the Limelight," also a band mainstay, offers another example of the Micros at the top of their game, with its giddy riffs providing exactly the right balance and support for all manner of free soloing by Paul Shapiro and Dave Sewelson.