The legendary Otis Spann gained renown as Muddy Waters’ pianist throughout the latter musician’s classic period of electric Chicago blues. Spann was also influential as a member of the Chess label’s house-band, which backed a roster of blues giants and big selling artists. However, Spann’s importance extended beyond his work as a sideman. He showed off his brilliance as a blues vocalist on a series of splendid recordings in a well-lived (though not extensive) solo career.
Two years after the first installment comes Buck 'Em!: The Music of Buck Owens, Vol. 2, a double-disc set chronicling the eight years when Buck Owens was a crossover superstar thanks to his prominent role as a co-host of Hee Haw. Buck started to slide into a rut toward the end of this run – a process accelerated by the tragic death of his right-hand man Don Rich in 1974, a loss from which Owens never fully recovered – but producer Patrick Milligan slyly disguises this trend by nestling deep cuts, live tracks, and outtakes among the best of his hits, thereby painting a portrait of Buck Owens as a musician nearly as adventurous as he was during the purple patch of the '50s and early '60s.
Known for his expert songwriting, emotive vocals and fantastic instrumental technique, Cantuaria has led a successful career as a solo artist since the 1980s and as a collaborator of the utmost taste even longer, including work with Caetano Veloso, David Byrne, Bill Frisell, Arto Lindsay and Ryuichi Sakamoto. The new recording Vinicius canta Antonio Carlos Jobim is a dedication to this hero of Brazilian music. Cantuaria takes on this classic material in the most personal way he could, performing most of the music himself, playing acoustic and electric guitars and percussion. The album was recorded in Tokyo and Rio de Janeiro, and provided an opportunity to reach out to a number of talented and musical friends, most notably Frisell, Sakamoto, Joyce, guitarist Chico Pinheiro and Melody Gardot.
Diana Krall paid tribute to her father on Glad Rag Doll, the 2012 album sourced from his collection of 78-rpm records, and, in a sense, its 2015 successor Wallflower is a companion record of sorts, finding the singer revisiting songs from her childhood. Like many kids of the 20th century, she grew up listening to the radio, which meant she was weaned on the soft rock superhits of the '70s – songs that earned sniffy condescension at the time but nevertheless have turned into modern standards due to their continual presence in pop culture (and arguably were treated that way at the time, seeing cover after cover by middlebrow pop singers).