Tom Waits Nighthawke at The Diner

Teddy Edwards - Mississippi Lad (1991) {Verve 511 111-2} (featuring Tom Waits)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 361 Mb | MP3 @320 -> 136 Mb
Full Artwork @ 300 dpi (png) -> 73 Mb | 5% repair rar
© 1991 Verve / PolyGram / Gitanes Jazz | 511 111-2
Jazz / Post Bop / Jazz Blues / Saxophone

Not half as well known as he should be, Edwards is a Delta- born jazz saxophonist who impresses for his post-bop inventiveness and his predisposition to the blues. Allowed a rare feature date, he gives lessons in how to delve into a melody for meaning and then express the resulting revelations in down-home terms-relish the poetic beauty of the title song. Tom Waits, an original, molds his vocal excesses into triumphant blues declarations in Edwards's stunning composition "I'm Not Your Fool Anymore." Indeed.

The Replacements will release a new box set titled Dead Man’s Pop. Due out September 27th, the four-disc collection compiles all the rough mixes and alternate takes that comprise their cruelly underrated sixth studio album, 1989’s Don’t Tell a Soul.

The fourth release in Tom Waits' series of skid row travelogues, Small Change proves to be the archetypal album of his '70s work. A jazz trio comprising tenor sax player Lew Tabackin, bassist Jim Hughart, and drummer Shelly Manne, plus an occasional string section, back Waits and his piano on songs steeped in whiskey and atmosphere in which he alternately sings in his broken-beaned drunk's voice (now deeper and overtly influenced by Louis Armstrong) and recites jazzy poetry. It's as if Waits were determined to combine the Humphrey Bogart and Dooley Wilson characters from Casablanca with a dash of On the Road's Dean Moriarty to illuminate a dark world of bars and all-night diners. Of course, he'd been in that world before, but in songs like "The Piano Has Been Drinking" and "Bad Liver and a Broken Heart," Waits gives it its clearest expression…

The fourth release in Tom Waits' series of skid row travelogues, Small Change proves to be the archetypal album of his '70s work. A jazz trio comprising tenor sax player Lew Tabackin, bassist Jim Hughart, and drummer Shelly Manne, plus an occasional string section, back Waits and his piano on songs steeped in whiskey and atmosphere in which he alternately sings in his broken-beaned drunk's voice (now deeper and overtly influenced by Louis Armstrong) and recites jazzy poetry. It's as if Waits were determined to combine the Humphrey Bogart and Dooley Wilson characters from Casablanca with a dash of On the Road's Dean Moriarty to illuminate a dark world of bars and all-night diners. Of course, he'd been in that world before, but in songs like "The Piano Has Been Drinking" and "Bad Liver and a Broken Heart," Waits gives it its clearest expression…