Larry Williams

Acclaimed Americana duo Larry Campbell and Teresa Williams have been called "the first couple of Americana" by Mojo Magazine, while American Songwriter declared: "They have created a sound that is spirited, stirring and timeless". Initially Larry and Teresa made their marks separately: Larry as indispensable multi-instrumentalist with Bob Dylan, kd lang, Sheryl Crow, Keith Richards and Emmylou Harris among others, and Teresa as a stage actor in productions like Keep On the Sunny Side where she portrayed Sara Carter and Always…Patsy Cline where she starred as none other than Patsy herself.Their performing partnership, however, was born when recording and touring with Levon Helm, iconic drummer and voice of The Band.

Two CDs containing talented guitarist, comedian and writer Mason's five albums for Warner Bros Records, dating from 1968 to 1971. Originally featured on 'The Smothers Brothers Comedy Hour' US TV show, 'Classical Gas' as performed by Williams became a US No.2 hit and a Top 10 hit in the UK and Canada. Williams has had a varied career, from recording with Mannheim Steamroller to bluegrass with Byron Berline, to writing comedy for 'Saturday Night Live'.

Larry Coryell will always be best known for arguably being the first fusion guitarist, but his career has been quite wide-ranging ever since the late '60s. On Shining Hour , he mostly sticks to jazz standards other than his own "Floyd Gets a Gig" and Brian Torff's "Apathy Rains." Several of the selections are identified with Miles Davis including "Nefertiti" and "The Sorcerer" but there are also hard swinging versions of "All the Things You Are" and "My Shining Hour." Coryell, whose playing works well in this (for him) rare setting although he is not really a boppish improviser, interacts with pianist Kenny Barron (who sometimes takes solo honors), bassist Buster Williams and drummer Marvin "Smitty" Smith.

After a period of recording with Fourplay in the late '90s, Larry Carlton comes back under his own name with a collection that is typically both tantalizing and frustrating. It's tantalizing in that you get flashes and streaks of what this extremely gifted and eloquent guitarist can do when the material is good enough to inspire him. It's frustrating, however, because there isn't enough of it; Carlton can only do so much with the weak-to-middling tunes that take up the majority of the disc. Nevertheless, the title cut is a fine example of the smooth jazz genre at its most ingratiating, with a nice groove and tasty guitar work. "Slave Song" is even better, spangled with intriguing instrumental touches (including the multitracked saxes of Kirk Whalum); some great, funky octave work right in the pocket; and most unusually in the smooth jazz arena, a passionate instrumental chorus on the way to the fade.

Long a greatly in-demand sideman, pianist Larry Willis excels during this opportunity to lead his own trio. With superb support from bassist Buster Williams and the tasteful drummer Al Foster, Willis explores a variety of standards, obscurities, and a pair of his originals. The interpretations are lyrical, quietly emotional, harmonically sophisticated, and full of subtle surprises. This is the type of jazz recording that grows in interest with each listen, for there is a great deal happening just beneath the surface.