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ANTONIO ADOLFO-CAROL SABOYA/La E Ca: Until tripping across his last daddy/daughter dance a few years ago, I didn't realize Adolfo was one of the best piano players I never heard of. Bringing the lass back to sing with him again, the duo sets off Brazilian sparks once again with the kind of Brazilian set hat would have been right at home with the times back when he was starting out. Mixing originals with samba for rookies (i.e. a bunch of Jobim), it's all right on the money and keeps samba vital. Tasty set that you won't ignore once it nestles into your mp3 player and burrs into your head. Well done.

JOHN GOLDSBY/Innkeeper's Gun: With the work this bass ace did for Maceo and "Avant Gershwin", that should be all the calling card you need to venture into this set if you don't know who he is. Opening up with a throwback to Kennedy years/pre-civil rights jazz, it's smoky basement, early sixties jazz when uber-hipsters were mad at Bill Evans for being too commercial. This is jazz for blowing some tea with wet towels stuffed into the door jam., but it isn't stuck in the 60s, it just borrows the iconography. Solid, sitting down jazz that goes the distance because it's powered by chops and smarts.

VINCE GUARALDI/Peanuts Portraits: For all the august stuff Fantasy recorded and acquired over the years, you still would have to be a dunce to tell me that Guaraldi's "Peanuts" music isn't one of the crown jewels of the whole shooting match. In fact, as long as you put "Linus and Lucy" on it, you can reissue this every five years in any configuration you want and a whole new generation will turn up to buy it. This collection shows the familiar tracks in an interesting light as they are pulled from the original specials and left to stand on their own. In addition to this being most of America's introduction to jazz, there's an amazing amount of blues and funk in these musical characterizations as well. Ain't nothing new here, except the mastering and the configuration, but if this isn't first class musical comfort food, what is? This just never goes out of fashion or date.

RICK JAMES/Fire It Up: While the cover shot of James is kind of iconic, this is the first time his 3rd cd has been issued on cd as originally released, with the edition of a bonus track. Turning out records with the speed of some of us washing our socks, this set finds James leaving iconic singles behind and going for punk funk opuses right in the incipient face of the disco wave over riding everything. James didn't need singles to turn it up and turn it loose as this unified affair is all the grease and glory of a genre busting move a slice from 30 years ago could have. Hot stuff.

RICK JAMES/Garden of Love: The summer of 1980, the record biz had crashed but James was in full regalia just coming off a tour where Prince was his opening act and the funk was flying. After a long period of bubbling under, James was letting his excesses come out in the music and was enjoying the roll he was on. This fourth album has never been out on cd and presented here in full form as opposed to bits and pieces on anthologies, it's clear the first great James era was still steaming ahead. Hot and heavy, he was creating it as he went along and the ride was a grand, wild one. This funk is still loaded with high octane.

SUPREMES/Meet the--Expanded Edition: Move over Judy Garland and Cher. With Gay Pride day just around the corner, 10,000 fans of Miss Ross will be the proud owners of this expanded edition of the Supremes debut that comes loaded with so many bells and whistles the uber fan will be rocking the house. With the original album newly available for the first time in 20 years, it's joined by the first cd release of the original mono mix, unreleased contemporary concert tracks from the Apollo and a local battle of the bands as well as a load of unreleased contemporary mixes that were rejected originally or turned up in later projects. This is an uber fan delight. Oh yeah, there's the music too. Ross and the gals had the hunger and drive to bust out of the ghetto at all costs and you can hear that Berry Gordy liked what she saw. 50 years later, the rest might be history, but this is where it all began, right down to the original Motown logo on the cover. It might be a return to the bad old days of ‘go slow' for some when they get a gander at the cover shot, but for the rest, it's a Technicolor mindblower of a journey through the past to where legends were born.

AVERY SHARPE TRIO/Live: Long time McCoy Tyner sidekick takes another bass-man's holiday with his trio and delivers a wonderful mainstream date that has everything you'd want in a well rounded jazz trio date that moves, grooves and let's you sit back and enjoy while the crew does it all for you. Simply a cool date that's pure fun to listen to. Check it out.

INCORRIGIBLE/One for All: When a hard core jazz fan runs a label and let's a bunch of hard core jazzbos form their own aggregation and do their thing their way, the results can be totally cool when the formula has the variables that were used here to solve for x. Yeah, ok, it's gibberish, but this date isn't. Killer, mainstream jazz in a first time run through by a crew of background hitters that have earned their shot at the spotlight. Tasty stuff that satisfies throughout, this is contemporary, mainstream jazz in one of it's finer moments.

Volume 33/Number 167
April 17, 2010
830 W. Route 22 #144
Lake Zurich, IL., 60047
CHRIS SPECTOR, Editor and Publisher
Copyright 2010 Midwest Record

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