Chet Atkins – Superpickers & Chet Atkins Picks The Best (1973-1967) [Reissue 2018] [SACD / Vocalion – CDLK 4610]

Chet Atkins - Superpickers & Chet Atkins Picks The Best (1973-1967) [Reissue 2018]

Title: Chet Atkins – Superpickers & Chet Atkins Picks The Best (1973-1967) [Reissue 2018]
Genre: Country
Format: SACD ISO + Hi-Res FLAC

On Superpickers, Atkins joins together with an A-list of Nashville session musicians for a set of picking extravaganzas. The players make up a well-chosen band, and Atkins gives them plenty of space to solo on folk standards like “Mr. Bojangles” and “City of New Orleans,” as well as tunes that are just platforms for the many variations. Atkins himself is goaded into some wonderful playing as a result, and Superpickers is one of his best albums. Unfortunately, Picks on the Hits, originally released in the late summer of 1972, is one of those easy listening toss-offs, a collection of tunes that had been high in the pop charts recently, tarted out with strings and occasional choruses, with Atkins sticking his guitar in here and there.

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1 min read

Chet Atkins – Sails (1987) [Reissue 2015] [SACD / Sony Music – 88875140872]

Chet Atkins - Sails (1987) [Reissue 2015]

Title: Chet Atkins – Sails (1987) [Reissue 2015]
Genre: Folk Rock, Jazz, New Age
Format: SACD ISO + Hi-Res FLAC

Another of Chet Atkins’ attempts to break into the jazz world during his Columbia period, this recording veers well across the line into new age wallowing of the most innocuous kind. At this point in time, when a record opened with soothing ocean waves, followed by a gentle wash of synths, you could pretty much expect the new age to be lapping at your feet throughout. As he has with so many other genres, Atkins displays an instinctive grasp of this feel-good idiom, though he has to hold back his powers of invention to conform to its clichés and repetitions. Yet even amidst the twittering sound effects and electronic drums of “Up in My Treehouse” and the listless treatment of Keith Jarrett’s “My Song,” Atkins’ guitar always exudes dignity. Encouragingly, several of the tunes that Atkins composed himself are the most interesting ones on the disc. “Laffin’ at Life” allows for some fingerpicking by the master and some OK doodling by other guitarists and keyboardists, and the smooth jazz “On a Roll” has other facets of the Atkins personality, with Earl Klugh apparently taking a guest solo. One of Atkins’ favorite latter-day collaborators, Mark Knopfler, is also on the record, to little discernable effect.

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2 min read

Charlie Rich – Behind Closed Doors & Every Time You Touch Me (1973 & 1975) [Reissue 2019] [SACD / Vocalion – CDLK 4630]

Charlie Rich - Behind Closed Doors & Every Time You Touch Me (1973 & 1975) [Reissue 2019]

Title: Charlie Rich – Behind Closed Doors & Every Time You Touch Me (1973 & 1975) [Reissue 2019]
Genre: Country
Format: MCH SACD ISO + Hi-Res FLAC

Another Dutton Vocalion’s reissue combines a pair albums of Charlie Rich, remastered from the Original Master tapes by Michael J. Dutton. “Behind Closed Doors”, from 1973, received the Country Music Association award for Album of the Year and Rich was named Best Male Vocalist for his performance on the album. Rich won the 1974 Grammy for Best Country Vocal Performance Male and also took home four Academy of Country Music awards for this album. “Everytime You Touch Me (I Get High)” was released in 1975, and the title track peaked at number three on the country chart.

Behind Closed Doors Charlie Rich had been heading toward full-blown country-pop on his previous Epic records, but Behind Closed Doors is where Billy Sherrill pulled out all of the stops and created a heavily orchestrated, pop-oriented album. It’s to Rich’s credit that he never sounds like he’s drowning amid the grand production and layers of instruments – in an odd way, he thrives. While Behind Closed Doors doesn’t have the casual eclecticism that distinguished all of Rich’s past recordings, it is an expertly crafted album – it’s easy to see why it made the Silver Fox a superstar. All of the material, from the hit singles (“Behind Closed Doors,” “The Most Beautiful Girl,” “I Take It On Home”) to the album tracks, are classy songs, designed to appeal to a maturing country audience. Furthermore, the arrangements expertly walk the line between pop and schmaltz – the sound of Behind Closed Doors is the sound of early-’70s countrypolitan and numerous artists used the record as a template for their own style. Rich made better, grittier records, but the combined collaborative effort of the vocalist and Sherrill resulted in a seamless, influential work – even if it is one that earned the scorn of hardcore country purists. Every Time You Touch Me The 1970s were a magical time for Charlie Rich and producer Billy Sherrill. Sherrill was the first producer who not only understood how gifted Rich was musically – he knew virtually no bounds when it came to popular music styles – but could comprehend and deliver Rich’s vision to record buyers. On the title track, restrained bass notes and minimal, jazzy pianism coast into a space where strings glide into Rich’s verse. Shimmering trills in the piano’s mid-range accent the end of each line, as do the female vocalists of the Nashville Edition. It’s dreamy and ethereal and the listener encounters quite literally what the song’s protagonist is describing. And “All Over Me” is a country tune with Rich’s honky tonk accents caressed by Sherrill’s strings and Pete Drake’s pedal steel in a broken paean to love gone awry. This is the album that pointed to all the various directions Rich wanted to explore musically. Like Ray Charles’ Modern Sounds in Country and Western Music, Rich extended it to include new textures and sounds in pop and country. A stunning example is “Since I Fell for You,” where Rich treats the melody like a rhythm & blues crooner and takes it to the breaking point of its country root. Side two holds a surprise in the dark, film noir-ish beauty of Margaret Ann Rich’s “Pass on By.” Again, the deep R&B strains meet doo wop, soul, and early rock in a setting provided by Sherrill that could have been in a 1950s thriller sung in a smoky lounge. And while the rest of the side is terrific as well, Rich’s own “Midnight Blues” walks the edge of rock and soul à la the Memphis sound. Shimmering strings in glissandi, stinging lead guitar, a trio of female verses echoing Rich’s lines, and Hargus “Pig” Robins’ honky tonk piano make the track swagger and shimmy, carrying the listener out on a rough and rowdy, darkly tinted note. Whew!

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4 min read

Charles Munch, Orchestre De Paris – Berlioz: Symphony Fantastique / Brahms: Symphony No.1 (1968) [Japan 2018] [SACD / Warner Music (Japan) – WPGS-10048]

Charles Munch, Orchestre De Paris - Berlioz: Symphony Fantastique / Brahms: Symphony No.1 (1968) [Japan 2018]

Title: Charles Munch, Orchestre De Paris – Berlioz: Symphony Fantastique / Brahms: Symphony No.1 (1968) [Japan 2018]
Genre: Classical
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

Acclaimed conductor Charles Munch leads the Orchestre de Paris in this stunning performance of Berlioz’s masterpiece, Symphonie Fantastique Op.14. The work has been highly praised for its remarkable sound quality. Munch commands the orchestra in an illuminating & spellbinding performance noted for its lush instrumentation. The choice of Brahms’s 1st Symphony for these inaugural recordings of the Orchestre de Paris shows once more its centrality in the Munch repertoire & gives the set a certain valedictory quality: Berlioz & Brahms, topped his list of career-long favourites.

Many people say one should not combine German & French music in the same programme, but considering his background it seems perfectly valid to me: I’ll leave you to decide. The Paris Orchestra was newly formed at the time of this, it’s 1st recording, but the performance is miraculous considering that an orchestra ensemble is not something that can be refined overnight. The engineering values of these Voix de Son Maître/EMI recordings, with the same team that made the great recordings of the Société des Concerts & André Cluytens (René Challan & Paul Vavasseur) are very strong, though the greater reverberation tends to mask some details that are clearer in RCA’s Living Stereo approach, where the acoustic of Symphony Hall in Boston figures prominently. Each of these accounts is in its own way haunting, together leaving an apt portrait of the artist Charles Munch had become since Boston. The Fantastique is, like its leader, contagious in its enthusiasm. Compare the precise woodwind playing from Boston as heard in the difficult last 60 seconds of the Fantastique with the results from Paris—a good juxtaposition of the French esprit with Bostonian savoir faire. The Brahms’s 1st Symphony leaving the sensation, in the long introductions of the 1st & last movements, of a soliloquy suspended over the passage of time: all lyric, with very little beat & almost no footfall at all – so drawn out as inevitably to suggest the conductor’s unwillingness to bid the work a last farewell. The outer movements are noticeably longer than the BSO versions. The famously sentimental close of the 2nd movement features violinist Luben Yordanoff in his prime. Munch probably over-slows the “alphorn call” toward the beginning of the 4th movement, but flutist Michel Debost responds in a way that confirms an icy stasis. The warm C-major theme begins slowly, too, but the heroism is soon straining to get loose.

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3 min read

Charles Mingus – Tijuana Moods (1962) [Reissue 2015] [SACD / Original Recordings Group – ORG 174]

Charles Mingus - Tijuana Moods (1962) [Reissue 2015]

Title: Charles Mingus – Tijuana Moods (1962) [Reissue 2015]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Tijuana Moods is an album by Charles Mingus originally recorded in 1957 but not released until 1962. The name “Charlie Mingus” appears on the cover of the original album. Mingus hated all nicknames derived from Charles (“Don’t call me Charlie; that’s not a man’s name, that’s a name for a horse”). All songs were composed by Mingus except “Flamingo” (Ted Grouya).

Inspired by a trip to Tijuana, Tijuana Moods was recorded in 1957 but was sat on by RCA until its release in 1962. Bassist/composer Charles Mingus at the time said that this was his greatest recording, and it certainly ranks near the top. The original version, which was usually edited together from a few different takes, consisted of just five performances. It has often been said that Mingus forced and pressured his sidemen to play above their potential, and that is certainly true of this project. Altoist Shafi Hadi (who doubles on tenor) is in blazing form on “Ysabel’s Table Dance,” while trumpeter Clarence Shaw (who was praised by Mingus for his short lyrical solo on “Flamingo”) sounds quite haunting on “Los Mariachis.” Trombonist Jimmy Knepper and drummer Dannie Richmond made other great recordings, but they are in particularly superior form throughout this session, as is the obscure pianist Bill Triglia. Completing the band is Ysabel Morel on vocals and Frankie Dunlop on castanets. While “Dizzy’s Moods” is based on “Woody’N You,” and “Flamingo” is given a fresh treatment, the other three songs are quite original, with “Tijuana Gift Shop” having a catchy, dissonant riff that sticks in one’s mind. The passionate playing, exciting ensembles, and high-quality compositions make this a real gem, and it represents one of Charles Mingus’ finest hours.

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2 min read

Charles Mingus – The Black Saint And The Sinner Lady (1963) [Analogue Productions 2011] [SACD / Analogue Productions – CIPJ 35 SA]

Charles Mingus - The Black Saint And The Sinner Lady (1963) [Analogue Productions 2011]

Title: Charles Mingus – The Black Saint And The Sinner Lady (1963) [Analogue Productions 2011]
Genre: Jazz
Format: MCH SACD ISO

The Black Saint and the Sinner Lady is a studio album by American jazz musician Charles Mingus, released on Impulse! Records in 1963. The album consists of a single continuous composition—partially written as a ballet—divided into four tracks and six movements.

The Black Saint and the Sinner Lady is one of the greatest achievements in orchestration by any composer in jazz history. Charles Mingus consciously designed the six-part ballet as his magnum opus, and — implied in his famous inclusion of liner notes by his psychologist — it’s as much an examination of his own tortured psyche as it is a conceptual piece about love and struggle. It veers between so many emotions that it defies easy encapsulation; for that matter, it can be difficult just to assimilate in the first place. Yet the work soon reveals itself as a masterpiece of rich, multi-layered texture and swirling tonal colors, manipulated with a painter’s attention to detail. There are a few stylistic reference points — Ellington, the contemporary avant-garde, several flamenco guitar breaks — but the totality is quite unlike what came before it. Mingus relies heavily on the timbral contrasts between expressively vocal-like muted brass, a rumbling mass of low voices (including tuba and baritone sax), and achingly lyrical upper woodwinds, highlighted by altoist Charlie Mariano. Within that framework, Mingus plays shifting rhythms, moaning dissonances, and multiple lines off one another in the most complex, interlaced fashion he’d ever attempted. Mingus was sometimes pigeonholed as a firebrand, but the personal exorcism of Black Saint deserves the reputation — one needn’t be able to follow the story line to hear the suffering, mourning, frustration, and caged fury pouring out of the music. The 11-piece group rehearsed the original score during a Village Vanguard engagement, where Mingus allowed the players to mold the music further; in the studio, however, his exacting perfectionism made The Black Saint and the Sinner Lady the first jazz album to rely on overdubbing technology. The result is one of the high-water marks for avant-garde jazz in the ’60s and arguably Mingus’ most brilliant moment.

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2 min read

Charles Mingus – Supreme Jazz (2006) [SACD / Supreme Jazz – 223277]

Charles Mingus - Supreme Jazz (2006)

Title: Charles Mingus – Supreme Jazz (2006)
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

Irascible, demanding, bullying, and probably a genius, Charles Mingus cut himself a uniquely iconoclastic path through jazz in the middle of the 20th century, creating a legacy that became universally lauded only after he was no longer around to bug people. As a bassist, he knew few peers, blessed with a powerful tone and pulsating sense of rhythm, capable of elevating the instrument into the front line of a band. But had he been just a string player, few would know his name today. Rather, he was the greatest bass-playing leader/composer jazz has ever known, one who always kept his ears and fingers on the pulse, spirit, spontaneity, and ferocious expressive power of jazz.

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1 min read

Charles Mingus – Pithecanthropus Erectus (1956) [Japanese SHM-SACD 2011] [SACD / Warner Music – WPGR-10003]

Charles Mingus - Pithecanthropus Erectus (1956) [Japanese SHM-SACD 2011]

Title: Charles Mingus – Pithecanthropus Erectus (1956) [Japanese SHM-SACD 2011]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Pithecanthropus Erectus was Charles Mingus’ breakthrough as a leader, the album where he established himself as a composer of boundless imagination and a fresh new voice that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition. Mingus truly discovered himself after mastering the vocabularies of bop and swing, and with Pithecanthropus Erectus he began seeking new ways to increase the evocative power of the art form and challenge his musicians (who here include altoist Jackie McLean and pianist Mal Waldron) to work outside of convention. The title cut is one of his greatest masterpieces: a four-movement tone poem depicting man’s evolution from pride and accomplishment to hubris and slavery and finally to ultimate destruction. The piece is held together by a haunting, repeated theme and broken up by frenetic, sound-effect-filled interludes that grow darker as man’s spirit sinks lower. It can be a little hard to follow the story line, but the whole thing seethes with a brooding intensity that comes from the soloist’s extraordinary focus on the mood, rather than simply flashing their chops. Mingus’ playful side surfaces on “A Foggy Day (In San Francisco),” which crams numerous sound effects (all from actual instruments) into a highly visual portrait, complete with honking cars, ringing trolleys, sirens, police whistles, change clinking on the sidewalk, and more. This was the first album where Mingus tailored his arrangements to the personalities of his musicians, teaching the pieces by ear instead of writing everything out. Perhaps that’s why Pithecanthropus Erectus resembles paintings in sound — full of sumptuous tone colors learned through Duke Ellington, but also rich in sonic details that only could have come from an adventurous modernist. And Mingus plays with the sort of raw passion that comes with the first flush of mastery. Still one of his greatest.

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2 min read

Charles Mingus – Mingus Mingus Mingus Mingus Mingus (1963) [Analogue Productions Remaster 2010] [SACD / Analogue Productions – CIPJ 54 SA]

Charles Mingus - Mingus Mingus Mingus Mingus Mingus (1963) [Analogue Productions Remaster 2010]

Title: Charles Mingus – Mingus Mingus Mingus Mingus Mingus (1963) [Analogue Productions Remaster 2010]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Having completed what he (and many critics) regarded as his masterwork in The Black Saint and the Sinner Lady, Charles Mingus’ next sessions for Impulse found him looking back over a long and fruitful career. Mingus, Mingus, Mingus, Mingus, Mingus is sort of a “greatest hits revisited” record, as the bassist revamps or tinkers with some of his best-known works. The titles are altered as well — “II B.S.” is basically “Haitian Fight Song” (this is the version used in the late-’90s car commercial); “Theme for Lester Young” is “Goodbye Pork Pie Hat”; “Better Get Hit in Your Soul” adds a new ending, but just one letter to the title; “Hora Decubitus” is a growling overhaul of “E’s Flat Ah’s Flat Too”; and “I X Love” modifies “Nouroog,” which was part of “Open Letter to Duke.” There’s also a cover of Duke Ellington’s “Mood Indigo,” leaving just one new composition, “Celia.” Which naturally leads to the question: With the ostensible shortage of ideas, what exactly makes this a significant Mingus effort? The answer is that the 11-piece bands assembled here (slightly different for the two separate recording sessions) are among Mingus’ finest, featuring some of the key personnel (Eric Dolphy, pianist Jaki Byard) that would make up the legendary quintet/sextet with which Mingus toured Europe in 1964. And they simply burn, blasting through versions that equal and often surpass the originals — which is, of course, no small feat. This was Mingus’ last major statement for quite some time, and aside from a solo piano album and a series of live recordings from the 1964 tour, also his last album until 1970. It closes out the most productive and significant chapter of his career, and one of the most fertile, inventive hot streaks of any composer in jazz history.

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2 min read

Charles Mingus – Mingus Ah Um (1959) [Reissue 1999] [SACD / Columbia – CS 65512]

Charles Mingus - Mingus Ah Um (1959) [Reissue 1999]

Title: Charles Mingus – Mingus Ah Um (1959) [Reissue 1999]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC

Mingus Ah Um is a studio album by American jazz musician Charles Mingus, released in 1959 by Columbia Records. It was his first album recorded for Columbia. The Penguin Guide to Jazz on CD calls this album “an extended tribute to ancestors” (and awards it one of their rare crowns), and Mingus’s musical forebears figure largely throughout.

Charles Mingus’ debut for Columbia, Mingus Ah Um is a stunning summation of the bassist’s talents and probably the best reference point for beginners. While there’s also a strong case for The Black Saint and the Sinner Lady as his best work overall, it lacks Ah Um’s immediate accessibility and brilliantly sculpted individual tunes. Mingus’ compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on Mingus Ah Um. The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi, and Booker Ervin; trombonists Jimmy Knepper and Willie Dennis; pianist Horace Parlan; and drummer Dannie Richmond. Their razor-sharp performances tie together what may well be Mingus’ greatest, most emotionally varied set of compositions. At least three became instant classics, starting with the irrepressible spiritual exuberance of signature tune “Better Get It in Your Soul,” taken in a hard-charging 6/8 and punctuated by joyous gospel shouts. “Goodbye Pork Pie Hat” is a slow, graceful elegy for Lester Young, who died not long before the sessions. The sharply contrasting “Fables of Faubus” is a savage mockery of segregationist Arkansas governor Orval Faubus, portrayed musically as a bumbling vaudeville clown (the scathing lyrics, censored by skittish executives, can be heard on Charles Mingus Presents Charles Mingus). The underrated “Boogie Stop Shuffle” is bursting with aggressive swing, and elsewhere there are tributes to Mingus’ most revered influences: “Open Letter to Duke” is inspired by Duke Ellington and “Jelly Roll” is an idiosyncratic yet affectionate nod to jazz’s first great composer, Jelly Roll Morton. It simply isn’t possible to single out one Mingus album as definitive, but Mingus Ah Um comes the closest.

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2 min read