In four albums, Worrisome Heart (2008), My One And Only Thrill (2009), The Absence (2012) and Currency Of Man (2015), Melody Gardot has managed to sneak in between Diana Krall and Norah Jones to also find her place in the selective club of the female singers that are “a bit jazzy but not too much”, this oneiric cast that was so popular during the 50s, and in which she soon made the singularity of her very sensual voice resonate. A voice that she ceaselessly took touring to locations all over the world, and multiple times over at that. And so, there are enough recordings in the cellar to release a live album. However, live discs are rarely a must. There is often something missing, this small impalpable thing, that only those present that night will have kept inside of them… This Live In Europe from Melody Gardot is lucky to have kept, precisely, this “small thing”… The American has probably meticulously built it (apparently, she has listened to more than 300 recordings before making her decision!) by avoiding the true-false best of. “Someday, someone told me, ‘never look back, because there’s no way you’re going back’, she says. It’s nicely said, but if you don’t look back sometimes, it’s hard to see that time is on the verge of catching up to you. We all need to quickly look back into the rear-view mirror from time to time in order to adjust our trajectory. This disc is precisely that, the rear-view mirror of a 1963 Corvette, a postcard of our touring all over Europe. We spent most of our time on the road these last few years, and we’ve taken advantage of this trip to not only get around and get some fresh air but also to try, as much as possible, to get rid of the rules and create something exciting. I’ve been dreaming for years of releasing a live album like this one.” This desire can be felt in every moment of this disc comprised of titles recorded in Paris, Vienna, Bergen, Amsterdam, Frankfurt, Barcelona, Lisbon, Zurich and London. Whether she performs her hits Baby I'm A Fool and My One And Only Thrill or covers the classic Over The Rainbow, Melody Gardot offers up a different point of view, but it’s always an open performance. To help her in her introspective trip that is constantly shifting, she is surrounded by her impeccable musicians, discreet but decisive. Drummer Charles Staab, saxophonist Irwin Hall and bass player Sami Minaie are completely in tune with her singing, like some kind of thin hand that you take and only let go of after the last note. Finally, there is this album cover which will lead to extensive press coverage… or not. © MD/Qobuz

Who's Next is not an album lacking for reissues. In addition to a deluxe edition from 2003, there have also been multiple audiophile editions and remasters of the album since its 1971 release. So what could a "super deluxe edition" possibly contain? Quite a bit, as it turns out. As even casual Who fans know, the genesis of Who's Next was as Lifehouse, a multimedia rock opera even more ambitious than Tommy. Pete Townshend had developed a bizarre, dystopian story that somehow merged his devotion to Indian guru Meher Baba, his recent fascination with synthesizers, and the idea that the only thing that could save humanity from a test-tube-bound future was "real rock 'n' roll." Yeah, the aftereffects of the '60s were wild. After some live shows at the Young Vic in London and a series of marathon recording sessions, a 16-song tracklist was finalized, but by this point, it was collectively decided—both creatively and commercially—that perhaps another concept-dense double album might not be the best studio follow-up to Tommy. So, eight Lifehouse songs were re-cut and one new song ("My Wife") was recorded and the leaner, meaner Who's Next was released in August 1971. The album was both an instant success and has become an undisputed part of the classic rock canon, thanks to the inclusion of absolutely iconic tracks like "Won't Get Fooled Again," "Baba O'Riley," and "Behind Blue Eyes."While one could make an argument that the taut and focused power of Who's Next inadvertently proved the point of the Lifehouse story (namely, that rock 'n' roll is most effective when it's at its most primal), it's important to remember that Who's Next was also a giant artistic leap forward for the Who, as it found them at the peak of their powers as a pummeling rock band and as a band willing to be experimental and artful in their approach to being a pummeling rock band. (If any evidence is needed of the group's unrivaled power, check out take 13 of "Won't Get Fooled Again" on this set, which is so immediate and electric that it could easily be mistaken for a concert performance.) While several Lifehouse tracks found their way to other Who and Townshend records, getting a sense of the contours of the project has been difficult. But this massive, 155-track set creates those lines thanks to the inclusion of multiple Townshend demos as well as recording sessions of Life House tracks that occurred both before and after the release of Who's Next, and, most notably, two freshly mixed live shows from 1971 (including one of the Young Vic shows) that provided both the energy and, in some cases the basic tracks, for the album versions. While nothing on this bursting-at-the-seams edition overrides the all-killer-no-filler approach of Who's Next, it does provide plenty of long-desired context and documentation for what made that record so powerful. © Jason Ferguson/Qobuz

It's often unfair to compare the Rolling Stones to the Beatles but in the case of the group's mono mixes, it's instructive. Until the 2009 release of the box set The Beatles in Mono, all of the Fab Four's mono mixes were out of print. That's not the case with the Rolling Stones. Most of their '60s albums -- released on Decca in the U.K., London in the U.S. -- found mono mixes sneaking onto either the finished sequencing or various singles compilations, so the 2016 box The Rolling Stones in Mono only contains 56 heretofore unavailable mono mixes among its 186 tracks. To complicate things further, the box -- which runs 15 discs in its CD version, 16 LPs in its vinyl incarnation -- sometimes contains both the British and American releases of a particular title (Out of Our Heads and Aftermath), while others are available in only one iteration (Between the Buttons is only present in the U.K. version). All this is for the sake of expedience: this is the easiest way to get all the mono mixes onto the box with a minimal amount of repetition. To that end, there's a bonus disc called Stray Cats -- with artwork that plays off the censored plain white cover art for the initial pressing of Beggars Banquet -- collecting the singles that never showed up on an official album, or at least any of the albums that made the box. Along with the odd decision to have the CD sleeves be slightly larger than a mini-LP replica (they're as big as a jewel box, so they're larger than a shrunk vinyl sleeve, a size that's rarely seen in other releases), this is the only quibble on what is otherwise an excellent set. The sound -- remastered again after the 2002 overhaul for hybrid SACDs -- is bold and colorful, with the earliest albums carrying a wallop and the latter records feeling like they're fighting to be heard in two separate channels and all the better for it. If nothing here provides a revelation -- none of the mixes are radically different, the way that some Beatles mono sides are -- this nevertheless is the best the Rolling Stones have sounded on disc (or on vinyl) and there's considerable care in this package, from the replications of the sleeves to the extensive notes from David Fricke. Plus, hearing the Stones in mono winds up being a hot wire back toward the '60s: this feels raw and vibrant, as alive as the band was in the '60s.© Stephen Thomas Erlewine /TiVo

During the late '50s, Ella Fitzgerald continued her Song Book records with Sings the George and Ira Gershwin Song Book, releasing a series of albums featuring 59 songs written by George and Ira Gershwin. Those songs, plus alternate takes, were combined on a four-disc box set, Sings the George and Ira Gershwin Song Book, in 1998. These performances are easily among Fitzgerald's very best, and for any serious fan, this is the ideal place to acquire the recordings, since the sound and presentation are equally classy and impressive.© Leo Stanley /TiVo

Much of Who's Next derives from Lifehouse, an ambitious sci-fi rock opera Pete Townshend abandoned after suffering a nervous breakdown, caused in part from working on the sequel to Tommy. There's no discernable theme behind these songs, yet this album is stronger than Tommy, falling just behind Who Sell Out as the finest record the Who ever cut. Townshend developed an infatuation with synthesizers during the recording of the album, and they're all over this album, adding texture where needed and amplifying the force, which is already at a fever pitch. Apart from Live at Leeds, the Who have never sounded as LOUD and unhinged as they do here, yet that's balanced by ballads, both lovely ("The Song Is Over") and scathing ("Behind Blue Eyes"). That's the key to Who's Next -- there's anger and sorrow, humor and regret, passion and tumult, all wrapped up in a blistering package where the rage is as affecting as the heartbreak. This is a retreat from the '60s, as Townshend declares the "Song Is Over," scorns the teenage wasteland, and bitterly declares that we "Won't Get Fooled Again." For all the sorrow and heartbreak that runs beneath the surface, this is an invigorating record, not just because Keith Moon runs rampant or because Roger Daltrey has never sung better or because John Entwistle spins out manic basslines that are as captivating as his "My Wife" is funny. This is invigorating because it has all of that, plus Townshend laying his soul bare in ways that are funny, painful, and utterly life-affirming. That is what the Who was about, not the rock operas, and that's why Who's Next is truer than Tommy or the abandoned Lifehouse. Those were art -- this, even with its pretensions, is rock & roll.© Stephen Thomas Erlewine /TiVo

When you link your musical objective to a jazz icon like Ben Webster, certain expectations are created and, as here, rarely are these expectations met. Certainly, Jacintha sings songs Webster played, and she sings them very nicely. But there's none of the raspy timbre in her voice that made Webster's saxophone immediately recognizable. Jacintha confuses raspy with singing softly. She and the producers would have been better served by presenting these songs as hers, not Webster's. The focus then would be where it belongs (i.e., what she does with these classics). With excellent pitch, good diction, and sensitive interpretations of the lyrics, she makes these songs her own. One highlight is her a cappella treatment of "Danny Boy." Throughout the session, Jacintha receives solid support from veteran Teddy Edwards' blues-drenched saxophone (he's a lot closer to Webster than Jacintha is). He and Jacintha work well together, as on "How Long Has This Been Going On?" The venerable drummer Larance Marable and bass player Darek Oles combine to lay a solid, sensitive foundation for the proceedings. Oles' bass is especially prominent on "Over the Rainbow." Former Miles Davis pianist Kei Akagi is a capable accompanist. This album is a solid enough effort solely on the strength of Jacintha's natural talent. The obeisance to Webster was not only unnecessary, but distracting. © Dave Nathan /TiVo

If there is one bad thing about Sharon Jones' career, it's that it took so long for her to find the success she deserved. After years spent singing in church and as a backing vocalist for others, the onetime corrections officer finally broke big—complete with movie soundtracks and TV commercials—at age 49 thanks to Naturally, her second record with the Dap-Kings but the first one that really matters. Released in 2005, it ushered in a much-needed soul and funk revival a year before Amy Winehouse delivered Back to Black, which borrowed the Dap-Kings. Jones' voice is a marvel: rich, warm, sure and big big big. It's also singular. She deserves to be mentioned alongside James Brown, Otis Redding and Aretha Franklin, but she doesn't sound like any of them. That's how she's able to strut right in with a cover of "This Land Is Your Land" and convince anyone that, yeah, she owns the place. She does sultry (the doo-wop flavored "You're Gonna Get It"), determined ("How Do I Let a Good Man Down") and swagger ("Natural Born Lover") with equal skill. To be fair, as much of a clarion call as that voice is, it's matched by the time-machine mechanics of the Dap-Kings. "My Man Is a Mean Man" is as water-tight as anything by the Meters—the rhythm section creating an 18-wheeler rumble, the brass as bright as sunshine, and sax runs doing a nifty shimmy. Jones passed away from cancer in 2016, but we're lucky to have this keepsake. © Shelly Ridenour/Qobuz

From 1962 to 1965, the Beatles made 52 appearances on the BBC, recording live-in-the-studio performances of both their official releases and several dozen songs that they never issued on disc. This magnificent two-disc compilation features 56 of these tracks, including 29 covers of early rock, R&B, soul, and pop tunes that never appeared on their official releases, as well as the Lennon-McCartney original "I'll Be on My Way," which they gave in 1963 to Billy J. Kramer rather than record it themselves. These performances are nothing less than electrifying, especially the previously unavailable covers, which feature quite a few versions of classics by Chuck Berry, Little Richard, Carl Perkins, and Elvis Presley. There are also off-the-beaten-path tunes by the Everly Brothers and Buddy Holly on down to obscurities by the Jodimars, Chan Romero (a marvelous "Hippy Hippy Shake"), Eddie Fontaine, and Ann-Margret. The greatest gem is probably their fabulous version of Arthur Alexander's "Soldier of Love," which (like several of the tracks) would have easily qualified as a highlight of their early releases if they had issued it officially. Restored from existing tapes of various quality, the sound is mostly very good and never less than listenable. Unfortunately, they weren't able to include every single rarity that the Beatles recorded for the BBC; the absence of Carl Perkins' "Lend Me Your Comb," which has circulated on bootlegs in a high-fidelity version, is especially mystifying. Minor quibbles aside, these performances, available on bootlegs for years, compose the major missing chapter in the Beatles' legacy, and it's great to have them easily obtainable in a first-rate package.© Richie Unterberger /TiVo

Was soul music better before? No!" answers Aaron Frazer's debut album. Spotted as the drummer and co-singer of Durand Jones & the Indications, this young soul brother from Baltimore, now living in Brooklyn, launches his solo career with Introducing..., an impeccable opus with a vintage flavour, produced by the legendary Dan Auerbach. In Nashville's Easy Eye Sound Studio, home to the Black Keys, Frazer's celestial falsetto, influenced by Smokey Robinson and Curtis Mayfield, resounds to perfection. Both conscious and amorous, like all the great fifties and sixties soul singers, he juggles pure love songs and politically charged numbers with ease. His soft voice is a divine whisper, modern and ageless at the same time. A trans-generational cast supports Frazer, ranging from old hands like the Memphis Boys (who made their mark on Dusty Springfield's Son of A Preacher Man and Aretha Franklin's (You Make Me Feel Like) A Natural Woman) to the youngest virtuosos of the Daptone label - Big Crown Records... Gospel, doo-wop, funk and Northern Soul (Over You and its addictive up-tempo beat), Frazer even conjures up the ghosts of Marvin Gaye and Gil Scott-Heron on the smooth and funky Bad News. He knows and masters his classics, but his magnificent Introducing... is still very much an album from 2021, not 1961. Like his contemporaries Mayer Hawthorne and Curtis Harding, Aaron Frazer transposes his passion for vintage music into his time. He knows that the beauty of soul is that it cries with you, rejoices with you, makes you want to dance and can also make you think consciously and socially, whether it's 1961 or 2021! © Marc Zisman/Qobuz

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