Singing standards, trying to bring something different to or imprint your style on a tune made famous by Sinatra, Garland or Holiday, is a brave venture in the 21st century. The eclectic and unpredictable Rickie Lee Jones, has also always been a sneakily talented, genre-spanning songwriter who approaches covers with the same determination she brings to her own songs. Jones has carefully built a proud though underappreciated career that now gives her the gravitas to have a little fun on the aptly named Pieces of Treasure. As she did for a selection of rock and pop covers on 2019's Kicks, Jones leans into well-known (and well-worn) pop music standards like Jimmy McHugh's' bouncy "Sunny Side of the Street" or Kurt Weill's enchanting ode to age, "September Song." Rather than drowning these chestnuts in sentimentality, she works her nimble vocal way at leisurely tempos that encourage finely detailed renditions, the kind she's always been fabulous at finding. The opener "Just in Time" is an on- target success as is her easy, swinging run through of George and Ira Gershwin's "They Can' Take That Away From Me" where just a bit of scatting is added. While the late Jimmy Scott will always own the Jimmy Van Heusen/Sammy Cohen knockout "All The Way," Jones gives her all here. Set against just an acoustic guitar, she earnestly wends her way through a warm version of "On the Sunny Side of the Street" in which the last note is held for more than a beat. Working again with Russ Titelman who, along with Lenny Waronker, produced her 1979 debut album, Jones says this album made her feel young again and was like a reunion with herself.  Titelman has said of Pieces of Treasure's sessions, "I adore the young Rickie Lee, but I love even more the old dame I watched pour her heart out every time she got in front of a microphone." Recorded with the very spare accompaniment of mostly just pianist Rob Mounsey, with appearances by guitarist Russell Malone and vibraphonist Mike Mainieri, Pieces of Treasure was tracked in New York City at Bass Hit Studio, whose owner Dave Darlington was one of four engineers, and also mixed the album.) As befits the project, Jones is close-mic'd and the instrumentalists are tastefully kept in the background. Rickie Lee Jones sounds reinvigorated by this trip down Tin Pan Alley. © Robert Baird/Qobuz

This set (the CD reissue is a duplicate of the original LP) is one of the finest Lee Morgan records. The great trumpeter contributes five challenging compositions ("Search for the New Land," "The Joker," "Mr. Kenyatta," "Melancholee," and "Morgan the Pirate") that deserve to be revived. Morgan, tenor saxophonist Wayne Shorter, guitarist Grant Green, pianist Herbie Hancock, bassist Reggie Workman, and drummer Billy Higgins are all in particularly creative form on the fresh material, and they stretch the boundaries of hard bop (the modern mainstream jazz of the period). The result is a consistently stimulating set that rewards repeated listenings.© Scott Yanow /TiVo

Cure co-founder/former drummer Lol Tolhurst and Siouxsie and the Banshees beat-keeper Budgie first met in 1979 when their respective bands toured together. In recent years, the duo started hosting a post-punk podcast called Curious Creatures that eventually led to a musical collaboration with the producer Jacknife Lee. Originally envisioned as an instrumental album, Los Angeles evolved over time to include guest vocalists like LCD Soundsytem's James Murphy, Primal Scream's Bobby Gillespie and Lonnie Holley, along with musicians such as U2 guitarist the Edge and harpist Mary Lattimore.In some ways, Los Angeles delivers exactly what you would expect from a collaboration between Tolhurst and Budgie: rhythm-heavy songs with hypnotic grooves indebted to Krautrock, electro and post-punk. Synthesizers zap like brain synapses on "Everything and Nothing" in between dizzying spurts of repetitive drum patterns; on the propulsive, Edge-featuring "Train With No Station," beatific recurring melodies peek through bustling electronic static like the sun peeking through clouds. Other guest stars are a more recognizable presence. The songs on which Gillespie appear (unsurprisingly) sound like Primal Scream's various guises—"This Is What It Is (To Be Free)" channels Screamadelica's gospel-tinged catharsis, while "Ghosted at Home" hews toward Vanishing Point's darker electro. Modest Mouse's Isaac Brock contributes frenetic vocals to the danceable (and aptly named) "We Got to Move." And Murphy contributes anguished yelps and croons to the throttling title track, which resembles a more adventurous LCD Soundsystem.But Los Angeles shines when lesser-known voices have their place in the spotlight. Pan Amsterdam is striking on the minimalist, jazzy hip-hop standout "Travel Channel," while Starcrawler's Arrow de Wilde helms a slab of scorching gothic-blues rock. And Holley presides over the rhythm-heavy experimental track "Bodies" like a fire-and-brimstone preacher before Mary Lattimore takes the song out with some bewitching harp. It's unsurprising given the pedigree of the artists involved—but Los Angeles is a ferociously fresh-sounding take on familiar sounds that lingers long after the music ends. © Annie Zaleski/Qobuz

Lake Geneva is not Lake Pontchartrain, and Montreux is certainly not New Orleans. But regularly, during the famous Montreux jazz festival, the two cities fall into step in a swaying dance. Especially when Dr. John is on stage, who has made it up there at least seven times, in 1986, 1993, 1995, 2004, 2007, 2011 and 2012. Why has Dr. John played so many times in Montreux? In part because he was a huge figure with constant high quality performances, as good in his last decade (he died in 2019) as in his previous ones. But also because the public never tired of him. Dr. John always emanated good vibes, with music like a course of vitamin therapy.This compilation of his Montreux concerts begins with four tracks recorded in 1986. Dr. John is alone at the piano, and in great shape. Caribbean-style boogie-woogie escapes from under his nimble wanders, cool and elegant, typical of New Orleans (and partly invented by Professor Longhair, to whom Dr. John pays tribute). On the other pieces played in the group, which includes a brass and rhythm section, he showcases radiant funk and indulgent jazz, the secrets to which he has always held close to his chest. All of Dr. John’s and New Orleans classics are there, from Let the Good Times Roll, Big Chief and Right Place, Wrong Time. Everyone who has seen Dr. John on stage, in Montreux or elsewhere, will find that this compilation offers the same energy of his concerts. What’s more, it won’t fail to bring a smile to your face. © Stéphane Deschamps/Qobuz

With this February 1996 album, Nick Cave took up his role as the bipolar preacher, caught between sin and redemption. Half goth-punk Johnny Cash, half infernal Lee Hazlewood, the brains of the Bad Seeds, a crooner to the core, told his stories of death, betrayal, sex, violence and passion... His cavernous voice and his Biblical pen fascinated fans. Behind him, the Bad Seeds were knitting together a blood-red score, a cocktail of blues and jazz on ghostly pianos, disquieting guitars and martial percussions. This is a Nick Cave in full Nosferatu mode, and he even has a couple of virgins to snack on: his double, PJ Harvey, on Henry Lee, and his compatriot Kylie Minogue for an erotic thriller entitled Where The Wild Roses Grow. © Marc Zisman/Qobuz

The follow-up to the breakthrough Headhunters album was virtually as good as its wildly successful predecessor: an earthy, funky, yet often harmonically and rhythmically sophisticated tour de force. There is only one change in the Headhunters lineup -- swapping drummer Harvey Mason for Mike Clark -- and the switch results in grooves that are even more complex. Hancock continues to reach into the rapidly changing high-tech world for new sounds, most notably the metallic sheen of the then-new ARP string synthesizer which was already becoming a staple item on pop and jazz-rock records. Again, there are only four long tracks, three of which ("Palm Grease," "Actual Proof," "Spank-A-Lee") concentrate on the funk, with plenty of Hancock's wah-wah clavinet, synthesizer textures and effects, and electric piano ruminations that still venture beyond the outer limits of post-bop. The change-of-pace is one of Hancock's loveliest electric pieces, "Butterfly," a match for any tune he's written before or since, with shimmering synth textures and Bennie Maupin soaring on soprano (Hancock would re-record it 20 years later on Dis Is Da Drum, but this is the one to hear). This supertight jazz-funk quintet album still sounds invigorating a quarter of a century later.© Richard S. Ginell /TiVo

Tom Waits grew steadily less prolific after redefining himself as a junkyard noise poet with Swordfishtrombones, but the five-year wait between The Black Rider and 1999's Mule Variations was the longest yet. Given the fact that Waits decided to abandon major labels for the California indie Epitaph, Mule Variations would seem like a golden opportunity to redefine himself and begin a new phase of his career. However, it plays like a revue of highlights from every album he's made since Swordfishtrombones. Of course, that's hardly a criticism; the album uses the ragged cacophony of Bone Machine as a starting point, and proceeds to bring in the songwriterly aspects of Rain Dogs, along with its affection for backstreet and backwoods blues, plus a hint of the beatnik qualities of Swordfish. So Mule Variations delivers what fans want, in terms of both songs and sonics. But that also explains why it sounds terrific on initial spins, only to reveal itself as slightly dissatisfying with subsequent plays. All of Waits' Island records felt like fully conceived albums with genuine themes. Mule Variations, in contrast, is a collection of moments, and while each of those moments is very good (some even bordering on excellent), ultimately the whole doesn't equal the sum of its parts. While that may seem like nitpicking, some may have wanted a masterpiece after five years, and Mule Variations falls short of that mark. Nevertheless, this is a hell of a record by any other standard. Waits is still writing terrific songs and matching them with wildly evocative productions; furthermore, it's his lightest record in years -- it's actually fun to listen to, even with a murder ballad here and a psycho blues there. In that sense, it's a unique item in his post-Swordfish catalog, and that may make up for it not being the masterpiece it seemed like it could have been.© Stephen Thomas Erlewine /TiVo

Given Hooker's unpredictable timing and piss-poor track record recording with bands, this 1965 one-off session for the jazz label Impulse! would be a recipe for disaster. But with Panama Francis on drums, Milt Hinton on bass, and Barry Galbraith on second guitar, the result is some of the best John Lee Hooker material with a band that you're likely to come across. The other musicians stay in the pocket, never overplaying or trying to get Hooker to make chord changes he has no intention of making. This record should be played for every artist who records with Hooker nowadays, as it's a textbook example of how exactly to back the old master. The most surreal moment occurs when William Wells blows some totally cool trombone on Hooker's version of Berry Gordy's "Money." If you run across this one in a pile of 500 other John Lee Hooker CDs, grab it; it's one of the good ones.© Cub Koda /TiVo

It's hard to believe that in his over-50-year career, guitarist Lee Ritenour has never released a solo guitar album. He rectifies that fact on 2020's warmly delivered Dreamcatcher. The record follows Ritenour's star-studded 2015 album A Twist of Rit, in which he reworked songs from throughout his career with a bevy of special guests. Dreamcatcher finds him taking a more introspective, stripped-down approach, but one that still showcases his lyricism and adept fretboard skills. Recorded during the COVID-19 pandemic, Ritenour produced the album himself at his home, working remotely with studio assistance by Gary Lee and Brian McShea. There's an intimacy to the recordings that has the feeling of a small private concert, or it's as if you're eavesdropping on Ritenour just jamming for his own pleasure. Comfortable in electric and acoustic settings, and with a career that has straddled the rock, jazz, and pop worlds, the guitarist takes an equally expansive approach on Dreamcatcher. He dips into folky acoustic balladry on "Starlight," draws upon the sophisticated hollow-body style of Wes Montgomery on "The Lighthouse," and weaves a delicate patchwork of nylon-string harmonies on the classical-leaning title track. He even rips into far-eyed electric jazz-rock on "Abbot Kinney." There's a shimmering, textural quality to many of these songs as Ritenour laces together his warm melodies using just a modicum of aftereffects. We also get the nicely arranged "Couldn't Help Myself," a flowing instrumental that evokes Ritenour's '70s fusion work and features a mix of synths, percussion, and over 20 guitar tracks. Dreamcatcher is a relaxing, deceptively understated album that showcases Ritenour's laid-back virtuosity.© Matt Collar /TiVo

In late 1961, John Lee Hooker stepped into a Chicago studio for a single-day session with Motown's tight, swinging house band—which by then had propelled hits by Stevie Wonder, The Temptations and Marvin Gaye—and went electric. The menacing bluesman, who had established his brand as a bad-ass with a bad, if occasionally regretful, attitude, had been releasing country blues records for more than a decade, the kind that showcased his ability to wrestle with his psyche and channel those emotions through a helpless acoustic guitar and barked-out mumble of a voice. Armed with the outfit that became the Funk Brothers (guitarist Larry Veeder, bassist James Jamerson, keyboardist Joe Hunter and drummer Benny Benjamin), Hooker banged out eleven hardened, gripping electric blues songs that came out in 1962 as Burnin'. Those tracks were echoed in Bob Dylan's similar electric turn three years later and their spirit resonated through the proto-metal of Cream and Led Zeppelin. How scary is Hooker on Burnin'? The first verse of the first song, "Boom Boom," opens with him cracking four vocal gunshots—"boom boom boom boom"––and declaring, "I'm gonna shoot you down/ Right off your feet/ Take you home with me/ Put you in my house." Unless his shots are metaphors for Cupid's arrows, the "boom boom boom boom" that ends the verse connotes something much darker. Creepy? Upsetting? That's Hooker all over Craft Recordings' expanded and newly remastered version of Burnin', which also includes an alternate take of "Thelma" and both the stereo and the mono versions of the album's original eleven tracks. Granted, Hooker does reveal a more vulnerable side from time to time ("Lost a Good Girl," "Let's Make It"). But as anyone who's binged true crime shows knows, when a man says, "Now look, buddy/ Keep your hands down/ To yourself/ 'Cause she's all mine/ All my property," as Hooker does on "Keep Your Hands to Yourself," someone's going to be in jail by sunrise and nobody's hitting the hay without some serious blues. © Randall Roberts/Qobuz

When this two-LP set was initially released in January 1971, Canned Heat was back to its R&B roots, sporting slightly revised personnel. In the spring of the previous year, Larry "The Mole" Taylor (bass) and Harvey Mandel (guitar) simultaneously accepted invitations to join John Mayall's concurrent incarnation of the Bluesbreakers. This marked the return of Henry "Sunflower" Vestine (guitar) and the incorporation of Antonio "Tony" de la Barreda (bass), a highly skilled constituent of Aldolfo de la Parra (drums). Sadly, it would also be the final effort to include co-founder Alan "Blind Owl" Wilson, who passed away in September 1970. Hooker 'n Heat (1971) is a low-key affair split between unaccompanied solo John Lee Hooker (guitar/vocals) tunes, collaborations between Hooker and Wilson (piano/guitar/harmonica), as well as five full-blown confabs between Hooker and Heat. The first platter focuses on Hooker's looser entries that vacillate from the relatively uninspired ramblings of "Send Me Your Pillow" and "Drifter" to the essential and guttural "Feelin' Is Gone" or spirited "Bottle Up and Go." The latter being among those with Wilson on piano. Perhaps the best of the batch is the lengthy seven-minute-plus "World Today," which is languid and poignant talking blues, with Hooker lamenting the concurrent state of affairs around the globe. "I Got My Eyes on You" is an unabashed derivative of Hooker's classic "Dimples," with the title changed for what were most likely legal rather than artistic concerns. That said, the readings of the seminal "Burning Hell" and "Bottle Up and Go" kept their familiar monikers intact. The full-fledged collaborations shine as both parties unleash some of their finest respective work. While Canned Heat get top bill -- probably as it was the group's record company that sprung for Hooker 'n Heat -- make no mistake, as Hooker steers the combo with the same gritty and percussive guitar leads that have become his trademark. The epic "Boogie Chillen No. 2" stretches over 11 and a half minutes and is full of the same swagger as the original, with the support of Canned Heat igniting the verses and simmering on the subsequent instrumental breaks with all killer and no filler. The 2002 two-CD pressing by the French Magic Records label is augmented with "It's All Right," with a single edit of "Whiskey and Wimmen."© Lindsay Planer /TiVo

From the outset, Nancy Sinatra and Lee Hazelwood were a match made in heaven. Their pop hit These Boots Are Made For Walkin’ (1966) was so huge that it occasionally overshadows their other incredible creations, such as Jackson, Sand, Summer Wine and You've Lost That Lovin' Feelin’ (songs which would later feature on Nancy & Lee, the incredible album that brought together the brilliant Oklahoma producer and Frank Sinatra’s daughter). It was a winning combination: his baritone voice that mixed rock, country, jazz, pop and easy listening, and her sexy, wide-ranging vocals, full of charisma. However, the duo’s momentum was cut short when Hazelwood suddenly moved to Sweden without explanation… When the pair finally returned to the studio in 1972, the world had moved on; nobody was expecting anything from them anymore. The charts were now obsessed with electronic sounds, making Lee Hazelwood’s baroque-esque symphonies seem out of touch, even antiquated. Despite this, Nancy & Lee Again (finally reissued and remastered by the label Light in the Attic) remains a masterpiece that desperately deserves to be (re)discovered. It’s got all the duo’s signature sounds; they’re just more luxurious, more spectacular and more dramatic. This reissue is proof that more really is more! From the opening track Arkansas Coal, Hazlewood creates a stunning cinematographic setting with meticulous and fascinating arrangements. Even the lyrics display real ambition, tackling the suffering of single mothers (the beautiful cover of Dolly Parton’s masterpiece, Down From Dover), and the uneasiness felt by veterans of the Vietnam War, which was still raging at the time of the initial release (Congratulations). With its magnificent orchestral arrangements featuring Larry Muhoberac (a member of Elvis Presley’s band TCB, who also worked with Barbra Streisand, Neil Diamond and Lalo Schifrin) and Clark Gassman (who worked with Hazlewood on the 1970 album Cowboy in Sweden), Nancy & Lee Again will age like fine wine. © Marc Zisman/Qobuz

Minimal to the point of sounding monumental, this Detroit guitar-drums-voice duo makes the most of its aesthetic choices and the spaces between riffage and the big beat. In fact, the White Stripes sound like arena rock as hand-crafted in the attic. Singer/guitarist Jack White's voice is a singular, evocative combination of punk, metal, blues, and backwoods while his guitar work is grand and banging with just enough lyrical touches of slide and subtle solo work to let you know he means to use the metal-blues riff collisions just so. Drummer Meg White balances out the fretwork and the fretting with methodical, spare, and booming cymbal, bass drum, and snare cracks. In a word, economy (and that goes for both of the players). The Whites' choice of covers is inspired, too. J. White's voice is equally suited to the task of tackling both the desperation of Robert Johnson's "Stop Breakin' Down" and the loneliness of Bob Dylan's "One More Cup of Coffee." Neither are equal to the originals, but they take a distinctive, haunting spin around the turntable nevertheless. All D.I.Y. punk-country-blues-metal singer/songwriting duos should sound this good.© Chris Handyside /TiVo

This session (reissued on CD by Blue Note) is best known for introducing Lee Morgan's beautiful ballad "Ceora," but actually all five selections (which include Morgan's "Cornbread," "Our Man Higgins," "Most Like Lee," and the standard "Ill Wind") are quite memorable. The trumpeter/leader performs with a perfectly complementary group of open-minded and talented hard bop stylists (altoist Jackie McLean, Hank Mobley on tenor, pianist Herbie Hancock, bassist Larry Ridley, and drummer Billy Higgins) and creates a Blue Note classic that is heartily recommended.© Scott Yanow /TiVo