Ozric Tentacles - The Floor's Too Far Away 2006

When asked where to start in the Ozric Tentacles intimidating discography, it's safe to suggest a couple of key albums (Erpland, for instance) and 2004's Spirals in Hyperspace. You might have to make an exception for The Floor's Too Far Away, though. Without getting downright bad, the follow-up to Spirals gets too generic in some places, and too Eat Static in others. The biggest offenders are "Jellylips" and "Splat!," two dancefloor-ready, thumping techno tracks that seem to have chosen the wrong album to land on; they clearly belong to Ed Wynne's more electronic guises. On the other hand, there are a handful of very good pieces. "Bolshem" starts as a slow-rising opener, but after a couple minutes of synthesizer sweeps, it explodes into a typical Ozric romp that ends a minute later. It's a stunningly short (and effective) take on the group's M.O. Another highlight is "Etherclock," where Ed turns into a guitar shredder, to great effect. And "Disdots" is pure Ozric Tentacles, blistering with slithery basslines, cosmic synths, and driving drums. For this one and a few more, Brandi Wynne and Matt "Metro" Shmigelsky join forces with Ed. Merv Pepler also makes an appearance on "Armchair Journey." Elsewhere, it's all Ed Wynne all the time. Schoo, Seaweed, and mostly John Egan and his thousand ethnic flutes are out of the picture, which seems to streamline the project's sound even more than before. The Floor's Too Far Away is a hit and miss affair. AMG.
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Quiet World - The Road 1970

Quiet World was an English band that included Steve Hackett on guitar, his younger brother John Hackett on flute, Gill Cilbert on vocals, Lea and Neil Heather composers, John Heather composer, acoustic guitar and vocals, Sean O'Mally on drums, Eddy Hines flute and sax, Dick Driver string bass and electric bass, Phil Henderson arranger, piano, trumpet, organ, recorder and vocals.

They released their debut album The Road in 1970. Shortly thereafter, Steve Hackett left to join the progressive rock group Genesis as lead guitarist. Thanks to ChrisGoesRock!
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Manu Katche - Its About Time 1991

When the talented session drummer Manu Katche decided to release his own solo effort, his colleagues from studio gigs with Sting, Peter Gabriel, Tori Amos, Joni Mitchell, Tracy Chapman, and Dire Straits were happy to sign on to help the talented Mr. Katche record It's About Time. Among them, guitarists Daniel Lanois, keyboardist Simon Clark, and sax legend Branford Marsalis join Katche to create some thrilling jazz- and funk-influenced rock cuts. Warm and soulful, Katche's tunes reflect the influence of Nothing Like the Sun-era Sting, perhaps more than any of the other artists that the drummer previously supported. Highlights include the soul crooner "Lost In You" and the upbeat opener "Cry of Passion." While the lush, delicate tracks on It's About Time generally don't live up to the standards of Katche's most famous employers, there are enough good moments on this 1992 release to warrant a recommendation to fans of this accomplished musician and his famous cohorts. AMG.
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Joe Jackson - Beat Crazy 1980

Before exploring jump blues and early R&B on 1981's Jumpin' Jive and later jazz and Latin styles on 1982's Night and Day, Joe Jackson expanded his power pop and punk m.o. with this, his reggae-tinged third album. Jackson sticks with the short songs and punk feel of his first two releases, but strategically adds rocksteady and jazz elements here and there. A direct reggae influence is heard on such dub-style cuts like "In Every Dream Home," while more of a pastiche approach is evident on tracks like "Mad at You." Jackson even riffs off of Linton Kwesi Johnson's dub poetry sides with the dancefloor politics of "Battleground," while also laying down some straight ska on "Pretty Boys." One also gets intimations of the sophisticated jazz-pop songwriting of Night and Day with torching gems like "One to One." As is the case on most of his albums, Jackson covers a wide array of topics here, including modern relationships, feminism, club life, and the social fringe. A solid effort. AMG.
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I gave an overview of the career of saxaphonist/flautist Harold Vick when posting "Don't Look Back" a few weeks ago, which led me to track down the album before that one. Vick hadn't put out an album in five years before releasing "The Power of Feeling" in 1973 under the pseudonym "Sir Edward".

The album came out on Bernard Purdie's short-lived Encounter Records in 1973 - see the base of this post for an (almost complete) label discography.

"The Power of Feeling" seems to have been recorded somewhere between the first and second Compost albums, and can perhaps be seen as an attempt to further some of the commercial ambitions and sonic qualities of Jack DeJohnette's project, albeit more in the "composed" vein of the burgeoning CTI style of accessible jazz-related music than the party funk represented on the Compost albums (particularly the first one, on which Vick seems to be just jamming along).

The following year would see Vick return to more "jazz-rooted" soul-jazz projects like Shirley Scott's "One for Me" and Larry Willis' "Inner Crisis", which would in turn lead to the more intimate and acoustic Vick album "Don't Look Back", but for now he wasn't going to let go of his wah-wah pedal.

While there's still conjecture in some online sources as to whether this actually was Harold Vick, the back cover (above) of Vick's "Commitment" release from 1974 confirms that it's him. I'm still unclear as to why Vick released this under a pseudonym, as it's clearly his own production and arrangements. The inner sleeve contains photos of all band members bar Vick, who's in silhouette on the cover.

THE ALBUM
The opening track "Keep on Moving On" is denser than the version on the Shirley Scott album, with multi-tracked reeds replacing the call-and-answer of organ and sax in the other version, and guitarist George Davis supplying the requisite Wah-Wah Watsonesque "wakka-wakka".
As always, Davis is a strong asset, whether switching into Grant Green-style soul jazz and then psych-funk on tracks like Vick's "Stocking Cap" or fronting on flute for an extended version of "People Make The World Go Round". Although his guitar work can be heard on some early 70s Dizzy Gillespie albums and Lonnie Smith's "Mama Wailer" , this appears to be his first flute date since Joe Zawinul's 1970 self-titled album. (More on Davis at the base of the Mike Longo post).
The other strong presence here is keyboardist Joe Bonner, fresh off a series of Pharoah Sanders' albums - "Black Unity", "Live at the East" and "Village Of The Pharoahs". This appears to be his first rhodes recording, but he switches to electric with aplomb, instantly understanding the different dynamics and referencing Hancock-like patterns in his solo work.


Bonner switches to acoustic piano for what is probably my favourite track, "Peace, K.D.", a dedication to trumpeter Kenny Dorham, who had died in December of 1972. It's a beautiful modal piece that starts out like a "Prince Of Peace" Sanders-style song - if Leon Thomas were to suddenly begin yodelling it wouldn't feel at all out of place. Starting with some textured and panned piano string scrapes, Vick and Davis build melancholy flute harmonies over Bonner's colour swathes, while Vick contributes some of his most sensitive playing here with a soprano sax overdub.


Harold Vick himself is a mixed bag on this album. His best work comes when he's on raw sax or flute and fully in control of his dynamics - few reed players can get such sensitive detail in their phrasing. However, on tracks like "Rocky Mount Willie" he often sets up the main melodies through electric wah-wah sax, and he's not fully at ease with integrating wah-wah rhythms and frequency shifts in his patterns - there's no subtlety to his footwork as he pushes the pedal all the way, every time, on evenly-spaced sixteenth notes or triplets.

Nevertheless, the difficulties of incorporating extra limbs as a musician are not to be under-estimated. Can I tell a funny story?
Eight years ago I was working for a few days in a New York studio, and the producer asked me to play the drumkit so he could check the mics. Although I play keys, guitar and percussion, if you get me to play anything with my feet as well, it falls apart after a few bars. The engineer was on the phone while we were checking, then afterwards he told me that the drummer from the "David Letterman Show" had been on the phone, and had asked "who the f#@k is that on the drums?"

Anyways back to the album - while there's some great stuff here, there are some fairly unimaginative readings of "Where Is The Love" and "Betcha by Golly Wow", in which Vick sticks much too closely to the original melodic/harmonic structures, despite some good solo work from Davis on the former and Bonner on the latter.

Vick brought percussionist Jumma Santos from the Compost sessions. Santos, who contributes a variety of instruments here, had also recently worked on albums by Roy Ayers, Larry Young, Marion Brown and Noah Howard. He'd started the decade with two heavy credits : playing percussion on Miles Davis' "Bitches Brew" and appearing with Jimi Hendrix at Woodstock.
Vick had worked with the other percussionist Omar Clay on Joe Chambers' "The Almoravid" in 1971 and Johnny Hammond's "Wild Horses Rock Steady" in 1972. Clay had also played on albums by Gene Harris and Marlena Shaw the year before.
This is turning into a yearbook parade, hey? Drummer David Lee is the head of the school's chess club - no that's not true - he had worked with George Davis on both the "Zawinul" album and Dizzy Gillespie's "The Real Thing", as well as appearing on albums by Sonny Rollins and Lonnie Liston Smith.Busy bassist Wilbur Bascomb Jr. had just made an album called "Black Grass Music" with his band Bad Bascomb, and a renowned funk 45 called "Just a Groove in G" which was famously sampled in DJ Shadow's "The Number Song" from "Entroducing".Bascomb had also recently played on Roy Ayers' "Change Up The Groove", Ellerine Harding's "Ellerine", Marlena Shaw's "From the depths of my soul", Lightning Rod's "Hustler's Convention", and Ronnie Foster's "Sweet Revival".Finally, bassist Victor Gaskin made his name on a series of Cannonball Adderley albums, such as "74 Miles Away", and had worked recently on Hal Galper's "Guerilla Band", Barry Miles' "White Heat" and Oliver Nelson's "Swiss Suite".
Technical note : This is not the best quality piece of vinyl I've ever come across - it's mostly OK, but there's some slight distortion on the flute in a few sections of "People Make The World go Round" which I couldn't clear up.Anyway I hope you enjoy this one, Thanks to http://neverenoughrhodes.blogspot.pt.
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Pearl Jam - Ten 1991

Nirvana's Nevermind may have been the album that broke grunge and alternative rock into the mainstream, but there's no underestimating the role that Pearl Jam's Ten played in keeping them there. Nirvana's appeal may have been huge, but it wasn't universal; rock radio still viewed them as too raw and punky, and some hard rock fans dismissed them as weird misfits. In retrospect, it's easy to see why Pearl Jam clicked with a mass audience -- they weren't as metallic as Alice in Chains or Soundgarden, and of Seattle's Big Four, their sound owed the greatest debt to classic rock. With its intricately arranged guitar textures and expansive harmonic vocabulary, Ten especially recalled Jimi Hendrix and Led Zeppelin. But those touchstones might not have been immediately apparent, since -- aside from Mike McCready's Clapton/Hendrix-style leads -- every trace of blues influence has been completely stripped from the band's sound. Though they rock hard, Pearl Jam is too anti-star to swagger, too self-aware to puncture the album's air of gravity. Pearl Jam tackles weighty topics -- abortion, homelessness, childhood traumas, gun violence, rigorous introspection -- with an earnest zeal unmatched since mid-'80s U2, whose anthemic sound they frequently strive for. Similarly, Eddie Vedder's impressionistic lyrics often make their greatest impact through the passionate commitment of his delivery rather than concrete meaning. His voice had a highly distinctive timbre that perfectly fit the album's warm, rich sound, and that's part of the key -- no matter how cathartic Ten's tersely titled songs got, they were never abrasive enough to affect the album's accessibility. Ten also benefited from a long gestation period, during which the band honed the material into this tightly focused form; the result is a flawlessly crafted hard rock masterpiece. AMG.
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Little Feat - Hoy-Hoy! 1981

Perhaps realizing that Down on the Farm wasn't the proper swan song for Little Feat, the group persuaded Warner Brothers to release a compilation of rarities and overlooked tracks as a swan song and farewell to fans. Filled with live performances, obscurities, album tracks, and a new song apiece from Bill Payne and Paul Barrere, Hoy Hoy is a bit scattered, a bit incoherent, a little bewildering, and wholly delightful -- a perfect summation of a group filled with quirks, character, and funk, traits which were as much a blessing as they were a curse. Hoy Hoy is one of those rare albums that may be designed for diehards -- who else really needs radio performances, early recordings from before the band was signed, and outtakes, especially if they're surrounded by early album tracks? -- but still is a great introduction for novices. That doesn't mean it's as good as such masterpieces as Sailin' Shoes, Dixie Chicken, or Waiting for Columbus, but it does capture the group's careening, freewheeling spirit, humor, and musical versatility, arguably better than any single album. That's one of the nice things compilations like this can do -- they can summarize what a band was all about in a way a straight studio album couldn't. So, that's why it may be a good gateway into the band for novices, even though it's missing such essentials as "Willin'" and "Fat Man in the Bathtub," but it's truly for the dedicated, who will not only love the rarities (and these live cuts are hotter, on whole, than Columbus) but will savor the context. AMG.
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Omar and the Howlers - Hard Times In The Land Of Plenty 1987

The European blues fans all adore Austin, TX-based guitarist and singer/songwriter Omar Kent Dykes. That's because he fits the stereotypical image many of them have of the American musician: he's tall, wears cowboy boots and has a deep voice with a Southern accent. However, Dykes does not carry a gun, and though he looks rough and tough, he's actually an incredibly peaceful and intelligent musician, and a veteran at working a crowd in a blues club or a festival. While Dykes still has a sizeable American audience owing to his albums for Columbia Records, he still spends a good portion of his touring year at festivals and clubs around Europe. Omar Kent Dykes was born in 1950, in McComb, MS, the same town from which Bo Diddley hails. He first set foot into neighborhood juke joints at age 12 and after he'd been playing guitar for a while, he went back into the juke joint. After graduating from high school, Dykes lived in Hattiesburg and Jackson, MS, for a few years before relocating to Austin in 1976. He'd heard the blues scene in Texas was heating up. At that time, Stevie Ray Vaughan was still playing with Paul Ray & the Cobras. By the early '80s, Omar & the Howlers had gained a solid reputation for their invigorating live shows. They also released two albums on independent labels, Big Leg Beat (1980), followed four years later by I Told You So. Among white blues musicians, Dykes is truly one of a kind, a fact Columbia Records recognized in the mid-'80s when they signed Omar & the Howlers. Unfortunately, it was a fleeting relationship at best. After releasing Hard Times in the Land of Plenty (1987) and Wall of Pride (1988) the band was dropped when the company was bought by Sony. While it was inconvenient, it didn't stop Dykes. His post-1990 output has been nothing short of extraordinary. Starting in 1991, Omar & the Howlers recorded three discs for Rounder/Bullseye Blues: Live at Paradiso (1991), followed by Blues Bag and Courts of Lulu (both in 1992). In 1995, they switched to the Austin, TX-based Watermelon Records and released Muddy Springs Road (1995), World Wide Open (1996), and Southern Style (1997). After 15 years of dealing with record contracts, Dykes needed a break from being tied down to one particular label for any length of time. Since then, he and the Howlers have released excellent discs on Discovery (Monkey Land) (1997) Black Top (Swing Land) (1999), Blind Pig (Big Delta) (2002), and Ruf Records (Boogie Man) (2004). A live set recorded in Germany, Bamboozled, appeared from Ruf Records in 2006. AMG.
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Robert Glasper Trio - Mood - 2003

“Real music is crash protected,” state the liner notes of Black Radio, a future landmark album by the Robert Glasper Experiment that boldly stakes out new musical territory and transcends any notion of genre, drawing from jazz, hip-hop, R&B and rock, but refusing to be pinned down by any one tag. Like an aircraft’s black box for which the album is titled, Black Radio holds the truth and is indestructible.

Robert Glasper has long kept one foot planted firmly in jazz and the other in hip-hop and R&B. He’s worked extensively with Q-Tip, playing keyboards on the rapper’s 2008 album The Renaissance and co-writing the album single “Life Is Better” which featured his label mate Norah Jones. Glasper also serves as the music director in yasiin bey’s touring band, and has toured with the multi-platinum R&B singer Maxwell.

The Los Angeles Times once wrote that “it’s a short list of jazz pianists who have the wherewithal to drop a J Dilla reference into a Thelonious Monk cover, but not many jazz pianists are Robert Glasper,” adding that “he’s equally comfortable in the worlds of hip-hop and jazz,” and praising the organic way in which he “builds a bridge between his two musical touchstones.”

Glasper drove that point home with his last album, 2009’s Double-Booked, which was split neatly in half. The first part featured his acoustic Trio, which had gathered a great deal of acclaim in the jazz world and beyond over the course of two previous Blue Note albums (2005’s Canvas and 2007’s In My Element). The second part featured his electric Experiment band and hinted at things to come, even earning the keyboardist his first GRAMMY nomination for “All Matter,” a collaboration with the singer Bilal that was among the contenders in the Best Urban/Alternative Performance category in 2010.

With Black Radio, the Experiment band has fully arrived. Featuring Glasper on piano and Fender Rhodes, Casey Benjamin on vocoder and saxophone, Derrick Hodge on electric bass, and Chris Dave on drums, the band is plugged in and open source. Each of the band members is prodigiously talented and lives naturally in multiple musical worlds, distilling countless influences into a singular voice. “That’s what makes this band unique,” says Glasper. “We can go anywhere, literally anywhere, we want to go. We all have musical ADD and we love it.”

Black Radio also features many of Glasper’s famous friends from across the spectrum of urban music, seamlessly incorporating appearances from a jaw-dropping roll call of special guests including Erykah Badu, Bilal, Lupe Fiasco, Lalah Hathaway, Shafiq Husayn (Sa-Ra), KING, Ledisi, Chrisette Michele, Musiq Soulchild, Meshell Ndegeocello, Stokley Williams (Mint Condition), and yasiin bey.

“I wanted to do a record that showcased the fact that we play with artists in other genres,” explains Glasper, adding that the album has “more of an urban, hip-hop, soul kind of vibe, but the spine of it all is still a jazz spine.”

What may be most remarkable about Black Radio is how Glasper (who also produced the record) was able to weave all these different voices into a cohesive album, avoiding the random patchwork feel that many “special guest” projects suffer from. “The record doesn’t seem like it’s a special guest record because of the relationships we all have,” he says. “These are all friends. All the guests on the album have musical similarities.”

That common ground and comfort level is what created the spontaneous spirit of adventure and experimentation that permeated the recording sessions, which all the band members describe as being more fun than work. Friends would drop by the studio in Los Angeles to hang out, listen to the band, get inspired, and jump into the vocal booth to lay down a track. “These are all people who are known for being in another genre,” says Glasper, “but at heart they’re jazz musicians, so they’re like ‘Let’s hit it. We don’t really know what’s going to happen but let’s go for it and see what happens.’ We all have that in common, which is why I chose the people I chose.”

“You can’t pigeonhole what we’re going to do or how we’re going to do it,” Glasper declares. The Experiment wears its eclecticism on its sleeve throughout Black Radio, presenting new collaborative originals and surprising cover songs. They transform the Afro-Cuban standard “Afro Blue” with Badu, Sade’s “Cherish the Day” with Hathaway, David Bowie’s “Letter to Hermione” with Bilal, and Nirvana’s “Smells Like Teen Spirit” with Benjamin’s vocoder vocal.

Glasper and Lupe Fiasco (whose recent gig together at the Blue Note Club in New York became a freestyle jam session when Kanye West and yasiin bey crashed the stage) co-wrote “Always Shine” which features Fiasco’s lyrical flow as well as a searing chorus sung by Bilal. On “Gonna Be Alright,” the R&B singer Ledisi highlights Glasper’s bright melodicism by writing new lyrics for his instrumental “F.T.B.” from the In My Element album.

The track “Ah Yeah” (a co-production with Glasper’s high school friend, the GRAMMY-winning producer Bryan-Michael Cox) is illustrative of the good fate that hung over the sessions. Glasper went to Atlanta to record with Musiq Soulchild at Cox’s studio. At a show the night before the session Glasper ran into singer Chrisette Michele and asked her to come by the studio as well the next day. The resulting duet is one of the album’s highlights.

Reflecting back, Glasper is rightly proud of Black Radio, but also humbled and grateful for the outpouring of support and talent that it took to bring the album into being. “Everyone just said yes, period, we’ll do it. It was smoother than I ever thought it would be to get all these great, amazing artists to come together and do this project.” http://robertglasper.com/bio/.
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U2 - The Joshua Tree 1987

Using the textured sonics of The Unforgettable Fire as a basis, U2 expanded those innovations by scaling back the songs to a personal setting and adding a grittier attack for its follow-up, The Joshua Tree. It's a move that returns them to the sweeping, anthemic rock of War, but if War was an exploding political bomb, The Joshua Tree is a journey through its aftermath, trying to find sense and hope in the desperation. That means that even the anthems -- the epic opener "Where the Streets Have No Name," the yearning "I Still Haven't Found What I'm Looking For" -- have seeds of doubt within their soaring choruses, and those fears take root throughout the album, whether it's in the mournful sliding acoustic guitars of "Running to Stand Still," the surging "One Tree Hill," or the hypnotic elegy "Mothers of the Disappeared." So it might seem a little ironic that U2 became superstars on the back of such a dark record, but their focus has never been clearer, nor has their music been catchier, than on The Joshua Tree. Unexpectedly, U2 have also tempered their textural post-punk with American influences. Not only are Bono's lyrics obsessed with America, but country and blues influences are heard throughout the record, and instead of using these as roots, they're used as ways to add texture to the music. With the uniformly excellent songs -- only the clumsy, heavy rock and portentous lyrics of "Bullet the Blue Sky" fall flat -- the result is a powerful, uncompromising record that became a hit due to its vision and its melody. Never before have U2's big messages sounded so direct and personal. AMG.
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The Musicians Of The Nile - Charcoal Gypsies 1998

The Musicians of the Nile have shared the musical traditions of the Sudan with international audiences for more than a quarter of a century. The group continues to weave a sound that Mojo described as "one hundred years of Egyptian spirituality in one neat package," and has been toasted by such jazz/avant-garde musicians as Keith Jarrett and the late Sun Ra. A concert by the Musicians of the Nile was described by Run Productions as "the shrill of the mizmar, the abrupt narrative voice, the incisive rhythm of the tabla, the modal melancholy of the arghul, transforming the stage into a village feast."

Formed in the Egyptian city of Abu-al-Djud (now Luxor), the Musicians of the Nile reflect the singing tradition of Egypt's gypsy families. Their first steps toward global success were taken after they caught the attention of ethno-musicologist Alain Weber, who agreed to become their manager. With his support, the band began to tour throughout Europe. Their performance at the first WOMAD Festival (World of Music and Dance Festival) in 1983 led to the band being signed by Peter Gabriel's RealWorld-Caroline record label and their guest appearance on Gabriel's album Passion. The Musicians of the Nile appeared at the Gypsy Festival in Florence in 1991 and the Gypsy Festival in Lucerne in 1995. AMG.
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Bruce Springsteen - Wrecking Ball 2012

Heavy lies the crown on Bruce Springsteen's head. Alone among his generation -- or any subsequent generation, actually -- he has shouldered the burden of telling the stories of the downtrodden in the new millennium, a class whose numbers increase by the year, a fact that weighs on Springsteen throughout 2012's Wrecking Ball. Such heavy-hearted rumination is not unusual for the Boss. Ever since The Rising, his 2002 return to action, a record deliberately tailored to address the lingering anger and sorrow from 9/11, Springsteen has eschewed the frivolous in favor of the weighty, escalating his dry, dusty folk and operatic rock in tandem, all in hopes of pushing the plight of the forgotten into public consciousness. Each of his five albums since The Rising have been tailored for the specific political moment -- Devils & Dust ruminated over forgotten Americans in the wake of the Iraq war; We Shall Overcome: The Seeger Sessions was an election year rallying call; Magic struggled to find meaning in these hard times; Working on a Dream saw hope in the dawning days of Obama -- and it’s no mistake that Wrecking Ball fuses elements of all four into an election year state of the union: Bruce is taking stock of where we are and how we’ve gotten here, urging us to push forward. If that sounds a bit haughty, it also plays that way. Springsteen has systematically removed any element of fun -- "Mary’s Place" is the only original in the past decade that could be called a party song -- along with all the romance or any element of confessional songwriting. He has adopted the mantle of the troubadour and oral historian, telling tales of the forgotten and punctuating them with rallying calls to action. Wrecking Ball contains more of the latter than any of its predecessors, summoning the masses to rise up against fatcat bankers set to singalongs lifted from Seeger. There's an unshakable collectivist hootenanny feel on Wrecking Ball, not to mention allusions to gospel including a borrowed refrain from "This Train," but Springsteen takes pains to have the music feel modern, inviting Tom Morello to do aural paintings with his guitar, threading some trip-hop rhythms into the mix, and finding space for a guest rap on "Rocky Ground." As admirable as the intent is, the splices between old-fashioned folk protests and dour modernity become too apparent, possibly because there's so little room to breathe on the album -- the last recorded appearance of Clarence Clemons helps lift "Land of Hope and Dreams" above the rest -- possibly because the message has been placed before the music. Springsteen is so focused on preaching against creeping inequality in the U.S. that he's wound up honing his words and not his music, letting the big-footed stomps and melancholy strumming play second fiddle to the stories. Consequently, Wrecking Ball feels cumbersome and top heavy, Springsteen sacrificing impassioned rage in favor of explaining his intentions too clearly. AMG.
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U2 - October 1981

U2 sounded so confident and assured on their debut that perhaps it was inevitable they would stumble slightly on its follow-up, October. The record isn't weaker than its predecessor because it repeats the formula of Boy. It's because the band tries too hard to move forward. Bono, in particular, tries too hard to make big political, emotional, and religious statements, but the remainder of the band isn't innocent. In general, the music is too pompous, with the sound overwhelming the actual songs. But when U2 do marry the message, melody, and sound together, as on "Gloria," "I Threw a Brick Through a Window," and "I Fall Down," the results are thoroughly impressive. AMG.
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Luambo Makiadi et le Tout Puissat O.K. Jazz - Candidat na biso Mobutu 1984

When Congolese jazz guitarist Franco Makiadi died in 1989, the whole of Zaire (formerly the Belgian Congo) went into mourning; it was a fitting farewell for a musician who, over the course of 40 years, issued over 150 albums, containing more than 1000 songs, and who had a decisive influence on the shape of African music.

Franco began his musical ventures with a homemade guitar, recorded his first single, "Bolingo Na Ngai Beatrice," at the age of 13, and by the age of 15 was a regularly contracted recording artist with the Loningisa Studio's house band. Part of Franco's appeal lay in his winning looks and common man accessibility, but as much as this, he was known for his inventive guitar style. In 1956, Franco helped form OK Jazz (later TPOK Jazz), a band that was to define Congolese music for decades. Franco's sound was an easy blend of Cuban rumba and Congolese rhythm. A fruit of the government's drive to promote authentic Congolese culture, Franco's was categorically a music performed to be danced to. Although Franco worked within and through the praise song tradition, he was not above preaching at times, for which he occasionally found himself in jail. Such brushes with the law only served to heighten the kudos that surrounded the man and his music.

A dominant motif in his repertoire was the often uneasy relationship between the sexes, a friction that he deplored and worked hard to alleviate. The distillation of this philosophy can be heard on Mario & Response de Mario. In 1988, Franco released a dire musical warning to his fans to avoid contracting AIDS. His own death, the following year, fuelled rumors that he had himself died from AIDS-related complications, although these were never substantiated. What will remain in people's minds is the incredible legacy bequethed by Franco to both Zaire and to the world. AMG. Thanks to African Music
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Joe Morello - Joe Morello 1962

A brilliant drummer, Joe Morello played early on with Phil Woods and Sal Salvador. He had short stints during 1952-1953 with Johnny Smith, Stan Kenton's Orchestra, and Gil Melle, but really gained a strong reputation for his work with the Marian McPartland Trio (1953-1956); he also played during the period with Tal Farlow and Jimmy Raney. Morello gained fame as a member of the Dave Brubeck Quartet during 1956-1967, making it possible for Brubeck to experiment with unusual time signatures. Due to his failing eyesight (he went blind in 1976), Morello mostly worked as a drum instructor in later years (Danny Gottlieb was a student), but still played and participated in reunions with Brubeck and McPartland. He led sessions for Score (1956), RCA (1961-1962), Ovation (1969), and DMP (1993-1994). Morello died on March 12, 2011 at his home in Irvington, NJ. He was 82.
In 1961, Joe Morello, drummer with the Dave Brubeck Quartet for the past six years (with six more years to go), received an opportunity to lead his own album. It's About Time featured ten songs with the word "time" in their title. Of these, five of the six quintet selections (starring Phil Woods and a young Gary Burton) and two of the four other songs (which has the quintet augmented by a brass section) are on this, along with a totally unreleased big band session from the following year. A powerful drummer with impressive technique, Morello is also a master of subtlety and, although an important part of this set, does not dominate the music. With Manny Albam contributing the arrangements, It's About Time was a happy surprise, a hard-driving set of swinging music. AMG.
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