Colette Magny - Chansons pour Titine 1983

Colette Magny was a French singer/songwriter with a propensity for protest songs whose musical style was informed by blues, jazz, folk, poetry, and spoken word. Born on October 31, 1926, in Paris, France, she made her recording debut in 1963 with the single "Melocoton" on CBS. The single, the closest she would ever come to a mainstream breakthrough hit, was subsequently compiled on her full-length solo album debut, Les Tuileries (1964). Her final release on CBS, Les Tuileries is comprised of musical adaptations of works by writers Victor Hugo, António Jacinto, Arthur Rimbaud,Rainer Maria Rilke, Antonio Machado, and Louis Aragon, plus a couple American traditionals and a few originals. Magny returned two years later with "Avec" Poème (1966), an experimental full-length effort informed by musique concrète on which André Almuro is credited for the music. After this experimental effort on the short-lived label Disques Mouloudji, Magny began her long association with the label Le Chant du Monde, beginning with the album Colette Magny (1967), sometimes referred to by its album-opening song, "Vietnam 67." Subsequent albums on Le Chant du Monde include Magny 68 (1969), Feu et Rythme (1970), Répression (1973), Transit (1975), Chili un Peuple Crève... (1976), Visage -- Village (1977), Je Veux Chaanter (1979), Thanakan (1981), Cahier d'une Tortue (1981), and Chansons Pour Titine (1983). In later years, Magny self-released the album Kevork (1989) on the label Colette Magny Promotion, and some of her Le Chant du Monde output was reissued in the early '90s. Her death on June 12, 1997, in Villefranche-de-Rouergue, Aveyron, France, sparked another round of reissues including Melocoton (1997), which compiled the highlights of her CBS output, and Blues(1999), which is essentially a repackaged version of her final Le Chant du Monde album, Chansons Pour Titine. AMG.

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Bonnie Bramlett - I'm Still the Same 2002

Even those who remember her performances as copilot of the soulful all-star revue called Delaney & Bonnie & Friends will be startled by the intensity of this comeback album. With full-throated, empathetic vocals throughout I'm Still the Same, Bramlett connects a variety of pop traditions, from jump blues to gauzy romantic balladry, and makes it all work. Her ability to read a lyric on tunes like "Hurt" compares to that of Dinah Washington, and not unfavorably. At medium tempos, such as theSantana-style samba of "What If," Bramlett sings comfortably around the beat, working the tension between the steady pulse and her more rubato phrasing. She's strongest, however, when the groove is slow; the 6/8 crawl of "No Man's Land," for example, lets her draw full dramatic effect from the lyric, especially on long notes that she can twist, stretch, and milk dry through a carefully controlled vibrato, subtle timbral variation, and other tools of expression. And her wrenching, intimate revival of "Superstar," sweetened by Mickey Raphael's haunting harmonica fills, will induce chills, whether you remember the '70s or not. AMG.

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Eddie Hazel - Rest In P 2000

Like Jams From the Heart, Rest in P isn't a full-length LP but rather a compilation of vault recordings dug up to satisfy P-Funk fans' insatiable hunger for Eddie Hazel material. A Japanese import, Rest in Pactually manages to eclipse the brief four-song Jams of the Heart by featuring that material under different song titles as well as additional material. Standout moments include the three epic jams: "Juicy Fingers" (14 minutes), "We Three" (12 minutes), and "No, It's Not!" (nine-and-a-half minutes). These songs showcase exactly why Hazel became so revered among later generations of P-Funk aficionados -- his '70s studio work, with the exception of "Maggot Brain" and "Free Your Mind...And Your Ass Will Follow," only hints at his Hendrix-like soloing ability. Note that this collection is primarily instrumental studio brainstorming and was never intended for release. Hazel's 1977 solo album,Games, Dames & Guitar Things, is recommended first, since it features a more polished sound actually intended for mass release, along with songs to actually accompany the jamming; unfortunately, that album is near impossible to find. Either way, this is still a fine collection of Hazel's unreleased studio work from the late '70s that will provide ample insight to this man's ongoing legacy as an under appreciated funk-metal guitarist. AMG.

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Casuarina - Casuarina 2005

An interesting samba and choro group from Rio de Janeiro, Brazil. Here with one of his records give it  listen.

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Afrika Bambaataa & The Soulsonic Force - Don't stop...Planet rock The Remix EP 1992

An updated EP takes the by-now-ancient "Planet Rock" beat and runs it through the 1990s hip-hop production machine. The results aren't all that successful, even though the sound is now contemporary. But its hook was old-school, as was its charm. The newer version lacks bite. AMG.

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Concha Buika - Niña de fuego 2008

With a quivering, seductive, mournful, and remarkably flexible voice, Concha Buika earned a healthy following in her homeland as the great ‘00s chanteuse of flamenco. The singer enchanted crowds on a U.S. tour just prior to her 2008 stateside debut, NINA DE FUEGO, a bewitching and diverse record featuring echoes of everything from Coltrane to Jobim to Radiohead. The sound ranges from the dark offbeat artistry of the title track to the downright breezy playfulness of “Arboles de Agua,” on an engrossing opening statement of an album. AMG.

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Ballake Sissoko - Tomora 2005

One of the modern-day masters of his instrument, Ballaké Sissoko is a Malian kora player who found success as a recording artist, generally in collaboration with others, most notably fellow Malian kora player Toumani Diabaté. Born in 1968 in Mali and based in Paris, France, he is the son of Jelimady Sissoko, a master of the kora. Sissoko first made a name for himself as a recording artist in 1999 with co-billing on the Toumani Diabaté album New Ancient Strings. The following year, he released the solo-billed album Déli (2000), which features his wife, the vocalist Mama Draba, among other musicians. Subsequent albums include Diario Mali(2003), a collaboration with Italian contemporary classical pianist Ludovico Einaudi; Tomora (2005);3MA (2008), a collaboration with Moroccan oud player Driss el Maloumi and Madgascan valiha playerRajery; and Chamber Music (2009), a collaboration with French celloist Vincent Ségal. AMG.

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Aaron Goldberg - Worlds 2006

Pianist Aaron Goldberg has an intriguing style that is a little reminiscent of Marian McPartland in its harmonic sophistication. Although seven of the ten selections on Worlds are his originals, several hint at various standards, most notably "Unstablemates," a witty de-construction of Benny Golson's "Stablemates." The interplay between Goldberg, bassist Reuben Rogers, and drummer Eric Harlandis consistently inventive, and Luciana Souza adds her haunting voice to "Kianda's Song." However, the high point of this CD is "Oud to Omer," which matches Goldberg with guest guitarist Kurt Rosenwinkel. The two musicians bring out the best in each other and plenty of sparks fly, making one hope that Goldberg and Rosenwinkel work together more often. AMG. 

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Carla Bley - Big Band Theory 1993

Carla Bley's 1993 recording Big Band Theory features her 18-piece orchestra playing three rather moody and atmospheric originals, plus a straightforward rendition of Charles Mingus' "Goodbye Pork Pie Hat." Listeners expecting the rambunctious humor that was present in some of Bley's earlier big band albums will be disappointed, but there is quite a bit of beauty on this set, particularly during the dramatic slow section of "Birds of Paradise" and the strangely episodic "On the Stage in Cages." Key among the soloists are trumpeter Lew Soloff, trombonist Gary Valente, altoist Wolfgang Puschnig,Andy Sheppard on tenor, and violinist Alex Balanescu. But overall this set (which is enjoyable enough) is less memorable than one would expect from Carla Bley. AMG.

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Corduroy - Dead Man Cat 1992

The acid jazz outfit Corduroy assembled singer/keyboardistScott Addison, his drummer brother Ben, guitarist Simon Nelson-Smith, and bassist Richard Searle (a former member of '80s one-hit wonders Doctor & the Medics). Formed from the ashes of the short-lived Brit-pop group Boys Wonder, Corduroy played their first gig -- a one-off New Year's Eve date -- in 1991; the performance proved so successful that its members agreed to continue on full-time, soon signing to the Acid Jazz label and issuing their debut LP, the largely instrumental Dad Man Cat, in 1992. High Havoc -- the soundtrack to an imaginary film -- followed a year later, launching the U.K. Top Ten hits "Something in My Eye," "The Frighteners," and "London, England." In the wake of 1994's Out of Here, however, Acid Jazz dropped Corduroy from its roster; after a long hiatus, the group finally landed on the Big Cat label, where they resurfaced in 1997 with The New You! The lounge-kitsch debut from Corduroy spotlights the group's blend of jazz and funk sounds. AMG.

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Keith Richards - Main Offender 1992

Richards' second solo album is even more delightfully focused than his first. Highlights include "Wicked as It Seems," "Eileen," and the searing "999." New Rolling Stones albums should rock this hard. AMG.

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Jessica Williams Trio - Inventions 1995

Jessica Williams' long string of recordings for Jazz Focus are all recommended. This trio outing with bassist Jeff Johnson and drummer Dick Berk is a little unusual, for the pianist sticks exclusively to her own originals (except for her solo feature "T4 2," twhich is really "Tea for Two"). She covers quite a bit of ground, with "Clear Blue Lou," "Last Trane," the adventurous "Sputnik," "Toshiko" and "Blues R Us" being among the highlights; wit and swing are never absent. AMG.

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Joëlle Léandre & Nicole Mitchell - Sisters Where 2014

Contrebassist and improviser Joëlle Léandre counts John Cage among her close mentors and has remained under-acknowledged for the amount -- and quality -- of her work since she began recording in 1981. Léandre has performed and recorded with many of the best, and most interesting, musicians in improvised music, including German bassist Peter Kowald, American reedsman and composerAnthony Braxton, Swiss pianist Irène Schweizer, Australian violinist Jon Rose, vocalist Lauren Newton, and British guitarist Fred Frith, among others.

Born in Aix-en-Provence, France, Léandre played recorder and piano before deciding upon the double bass. She won honors and scholarships during her studies for her outstanding musicianship and first met composers such as John Cage, Giacinto Scelsi, and Morton Feldman while in Buffalo, NY, on a scholarship. Léandre recorded works by Cage and Scelsi and performed in a number of new music ensembles including 2E2M and l'Ensemble Intercontemporain. She got to know Cage personally and he had a strong influence upon her music and perception of sound. Within jazz, Léandre was attracted to free playing and found another influence in Derek Bailey; the two later recorded together. Léandre has also recorded in duos with bassist William Parker and trombonist Sebi Tramontana and as a member of the European Women's Improvising Group, the Marilyn Crispell Quartet, the Canvas Trio with violinist Carlos Zingaro and clarinetist Rüdiger Carl, and a trio with pianist Georg Graewe and clarinetist François Houle. Joëlle Léandre has held residencies in Berlin and in Metz, France, during the '90s, and continues to write and paint in addition to making music and teaching. She has recorded for FMP, Intakt, Leo, Hat, and (most of all) Chris Cutler's Recommended Records (or ReR).

Chicago Afrocentric singer/flutist/piccolo player Nicole Mitchell has been part of the area's jazz/experimental music scene since the early '90s. First lending her talents to other artist's projects (David Boykin, Ed Wilkerson), Mitchell issued her solo debut in 2001, titled Vision Quest, credited to Nicole Mitchell and Black Earth Ensemble. Joined on the recording by a host of other musicians (violinists Savoir Faire and Edith Yokley, bassist Darius Savage, plus percussionists Hamid Drake and Avreeayl Ra), Vision Quest received favorable reviews in the Chicago music press, as avant-jazz veteran (and fellow flutist) James Newton offered praise, saying that Newton "has produced new techniques that have not yet been heard from any other flutist." A year later, Afrika Rising arrived on Dreamtime Records. It was also credited to the Mitchell/Black Earth Ensemble combination, continuing her collaborations with the large Chicago-area ensemble.

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