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Simple Song
Sylvain Luc
Jazz - Released April 14, 2023 | Space Time Records
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Within a Dream
Emil Brandqvist Trio
Jazz - Released May 4, 2018 | SKIP Records
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What A Time To Be Alive (Explicit Version)
Drake
Hip-Hop/Rap - Released September 20, 2015 | Cash Money Records Inc.
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A surprise mixtape that went from announcement to the top of the Billboard charts within a matter of a few weeks, What a Time to Be Alive is also a worthy hang session from MCs Drake and Future, one that feels instant, spontaneous, and just messy enough to keep off the top shelf. Think of it as a less ambitious Watch the Throne and the listener's role is mapped out, as being in awe or living vicariously through these songs is the only option for anyone not signed to the OVO and Freebandz imprints. The mixtape comes alive with half-tempo club bangers like "Jumpman" (a druggy Future drops "Way too much codeine and Adderall" while a money-blowing Drake goes "Nobu, Nobu, Nobu....") and "Big Rings" (Drake says you better give his crew some money, while Future drops the weird "I got racks like Serena/All of my rings Aquafina, my bitch Aquafina"). Stoned-out and slow tracks like "Scholarships" offer something more interesting and impossibly emo, as Drake admits "I need acknowledgement/If I got it then tell me I got it then" because he doesn't read the papers. Drake also brings things to a close with a solo and self-aware kiss-off called "30 for 30 Freestyle," which gives up 2015's ultimate meta moment with "My plan was always to make the product jump off the shelf/And treat the money like secrets, keep that shit to ourselves." What a Time to Be Alive, indeed.© David Jeffries /TiVo
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Frampton Comes Alive ! (35th Anniversary Deluxe Edition)
Peter Frampton
Rock - Released January 6, 1976 | A&M
At the time of its release, Frampton Comes Alive! was an anomaly, a multi-million-selling (mid-priced) double LP by an artist who had previously never burned up the charts with his long-players in any spectacular way. The biggest-selling live album of all time, it made Peter Frampton a household word and generated a monster hit single in "Show Me the Way." And the reason why is easy to hear: the Herd/Humble Pie graduate packed one hell of a punch on-stage -- where he was obviously the most comfortable -- and, in fact, the live versions of "Show Me the Way," "Do You Feel Like I Do," "Something's Happening," "Shine On," and other album rock staples are much more inspired, confident, and hard-hitting than the studio versions. [The 1999 reissue in A&M's "Remastered Classics" (31454-0930-2) series is a considerable improvement over the original double CD or double LP in terms of sound -- the highs are significantly more lustrous, the guitars crunch and soar, and the bottom end really thunders, and so you get a genuine sense of the power of Frampton's live set, at least the heavier parts of his set, rather than the compressed and flat sonic profile of the old double-disc version. Frampton and the band sound significantly closer as well, even on the softer songs such as "Wind of Change," and the disc is impressive listening even a quarter century later. Of course, one must take this all with a grain of salt as a concert document -- as was later revealed, there was considerable studio doctoring of the raw live tapes, a phenomenon that set the stage for such unofficial hybrid works as Bruce Springsteen's Live/1975-85 and countless others.]© Bruce Eder /TiVo
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Troika
D'Virgilio, Morse & Jennings
Rock - Released February 25, 2022 | InsideOutMusic
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From Q, With Love
Quincy Jones
R&B - Released February 9, 1999 | Qwest Records IGA
Grouped together, as they are on the double-disc From Q with Love, producer/arranger/conductor Quincy Jones' love songs sound an awful lot alike, with high-gloss production, silky smooth harmonies, and lead singers who all happen to bear a strong vocal resemblance to Jones' most famous client, Michael Jackson. It helps that From Q with Love is loaded with hits from Jones' past 30-plus years, including Patti Austin and James Ingram's "Baby, Come to Me" and "How Do You Keep the Music Playing?," Ingram's "One Hundred Ways" and "Just Once," Jackson's "Human Nature," and a handful of tracks from Jones' 1989 golden showpiece, Back on the Block.© Michael Gallucci /TiVo
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Guru's Jazzmatazz, Vol. 1
Guru
Hip-Hop/Rap - Released May 18, 1993 | Virgin Catalog (V81)
Though it can reasonably be argued that rap grew almost directly out of funk and its particular beat, there are a lot of overlaps with jazz, particularly the bop and post-bop eras: the uninhibited expression, the depiction of urban life, just to name two. Jazz samples have also had a large role in hip-hop, but the idea of rapping over actual live jazz wasn't truly fully realized until Gang Starr MC Guru created and released the first in his Jazzmatazz series in 1993, with guest musicians who included saxophonist Branford Marsalis (who had previously collaborated with DJ Premier and Guru for the track "Jazz Thing" on the Mo' Better Blues soundtrack), trumpeter Donald Byrd, vibraphonist Roy Ayers, guitarist Ronny Jordan, and keyboardist Lonnie Liston Smith, as well as vocalist N'Dea Davenport (also of the acid jazz group the Brand New Heavies) and French rapper MC Solaar. While Guru's rhymes can occasionally be a little weak ("Think they won't harm you? Well they might/And that ain't right, but every day is like a fight" are the lines he chooses to describe kids on the subway in Brooklyn in "Transit Ride"), he delves into a variety of subject matter, from the problems of inner-city life to his own verbal prowess to self-improvement without ever sounding too repetitive, and his well-practiced flow fits well with the overall smooth, sultry, and intelligent feel of the album. From Jordan's solo on "No Time to Play" to Ayers' vibes expertise on "Take a Look (At Yourself)" to MC Solaar's quick and syllabic rhymes on "Le Bien, le Mal," Jazzmatazz, Vol. 1 (and what turned out to be the best of the series) is a rap album for jazz fans and a jazz album for rap fans, skillful and smart, clean when it needs to be and gritty when that's more effective, helping to legitimize hip-hop to those who doubted it, and making for an altogether important release.© Marisa Brown /TiVo
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Black & White Blues
Jimmy Witherspoon
Blues - Released January 1, 1976 | Avenue Records
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The Essential Gladys Knight & The Pips
Gladys Knight & The Pips
R&B - Released March 6, 2015 | Legacy Recordings
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The Christmas Present (Deluxe)
Robbie Williams
Christmas Music - Released November 22, 2019 | Columbia
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It cannot be said that Robbie Williams is a Scrooge with his holiday album, The Christmas Present. In its deluxe edition -- which is the only edition available upon its initial 2019 release -- The Christmas Present is a double album, divided into a disc chronicling "The Christmas Past" on one disc and "The Christmas Future" on the other, thereby turning the record's title into a double-edged pun. The Christmas Past disc is devoted to shopworn seasonal standards, supplemented by a handful of newer tunes written in the same ornate fashion. The Christmas Future finds Robbie loosening his tie and shaking off the strings, splitting his time between sincere ballads and impish novelties. Naturally, The Christmas Future is livelier than The Past, with Williams camping it up with Tyson Fury on the naughty "Bad Sharon" and then happily tweaking both sides of the political aisle with "Snowflakes." Williams may like to act like a bad boy, but at his heart he's a sentimental cornball and, ultimately, he winds up making mawkishness seem merry on The Christmas Present.© Stephen Thomas Erlewine /TiVo
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John Dowland: First Booke of Songes or Ayres
Grace Davidson
Vocal Music (Secular and Sacred) - Released November 2, 2018 | Signum Records
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Soprano Grace Davidson has risen to prominence in the early music field, largely on the strength of her pure, unaffected singing and exceptional interpretations of Baroque vocal music by Vivaldi and Handel. With this 2018 release from Signum Classics, Davidson performs the First Book of Songes or Ayres of John Dowland, the Elizabethan composer who cultivated melancholia in the lute song Flow, My Tears, and the instrumental pieces based on that melody, Lachrimae or Seven Teares. The songs in this program reflect Dowland's characteristic poetic misery, encapsulated in his motto, "Semper Dowland, semper dolens," but the brooding feeling is tempered by Davidson's lovely singing, which resembles a light in the darkness. Her sweet voice may at first seem too bright and chaste for these songs of thwarted desire and stylized self-pity, though nothing less than Davidson's eloquent expressions and transparent tone would do. Joined by David Miller on lute, the arpeggiated harmonies are spare and dry, so the vocal line carries the greater emotional weight, all the more reason for Davidson's controlled expression and smooth phrasing to maintain a balance with the fragile accompaniment. Highly recommended as one of the most beautiful albums of 2018, this superb collection will build anticipation for a recording of the Second Book of Songes or Ayres.© TiVo
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King Solomon
Solomon Burke
Rock - Released June 1, 1968 | Rhino Atlantic
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Come By Me
Harry Connick Jr.
Pop/Rock - Released May 11, 1999 | Columbia
By 1999, Harry Connick, Jr. found himself in a curious place. Undoubtedly, he was one of the artists that kick-started the whole neo-swing movement that peaked in the late '90s. However, he was always too serious and traditional -- too much of a musician, really -- to fit in with the likes of the Cherry Poppin' Daddies. Furthermore, he was too much of a veteran. When he was reviving swing, it was in the late '80s, when nobody else believed it could be hip again. Surely, he must have been a little irked when he saw legions of groups that were nowhere near as musically fluent or as knowledgeable as he was cultivate huge followings. So, there was only one solution -- return to big-band swing, after years of attempting some sort of amorphous New Orleans funk and R&B. Of course, he'd probably be offended if anyone suggested that Come by Me was actually a response to neo-swing, but it's easy to interpret it that way, especially since he shows what the younger swing groups are missing. Connick knows what makes big bands work. He makes the classics sound fresh and newer songs sound like classics. More importantly, age suits him well; he no longer sounds like a young kid singing his father's music, he sounds natural and inspired. True, he occasionally sounds a bit too close to Sinatra for some tastes, but at least he can really sing, along with knowing how to make a big band swing, which, ironically, not all neo-swing acts can do. That alone makes Come by Me a welcome comeback.© Stephen Thomas Erlewine /TiVo
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The Christmas Present (Deluxe)
Robbie Williams
Christmas Music - Released November 22, 2019 | Columbia
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Releasing a Christmas album seems to be a rite of passage for all artists wanting to cement their place in the hearts of the people as a star (or even just to stay relevant…), yet some have accomplished this more successfully than others. This year it’s Robbie Williams who tries his hand at musical festive cheer: the end result is The Christmas Present, a soothing double album full of classic Christmas covers as well as a large serving of original songs (such as Coco’s Lullaby, dedicated to his daughter), guaranteed to get anyone in the holiday spirit. In keeping with the genre, this Christmas album starts out featuring sultry strings and a smooth brass section to effectively bring relaxing, jazzy tones to the music, a departure for Robbie Williams who cut his teeth on chart-topping pop music. Indeed, Jamie Cullum features on the second track, a cover of Slade’s kitsch-but-classic Merry Xmas Everybody, this strong start signalling more great things to come over this hour-and-a-half of feel-good Christmas music. Williams has more help, from German singer Helene Fischer on a seductive cover of Santa Baby, and from the legendary Rod Stewart on Fairytales and Bryan Adams on Christmas (Baby Please Come Home). However the most surprising feature comes from British champion heavyweight boxer Tyson Fury on Bad Sharon, a lighthearted song praising all the cheerful mischief to be had at Christmas time. Towards the end, the sound falls more into the pop category, but the festive cheer never falters. A fun album where the original songs are as inventive and refreshing as the covers are timeless and comforting. © Christopher Steele/Qobuz
Death of the Party
The Magic Gang
Alternative & Indie - Released August 28, 2020 | Warner Records
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Death of the Party is the sophomore album from indie pop outfit the Magic Gang and follows 2018's eponymous debut. Produced by Ben H. Allen (Deerhunter, Animal Collective), the record sees the group expand their sound, while taking inspiration from the likes of Arctic Monkeys and Jonathan Richman, with more observational lyricism. The singles "Make Time for Change" and "Take Back the Track" are included.© Rich Wilson /TiVo
Death of the Party is the sophomore album from indie pop outfit the Magic Gang and follows 2018's eponymous debut. Produced by Ben H. Allen (Deerhunter, Animal Collective), the record sees the group expand their sound, while taking inspiration from the likes of Arctic Monkeys and Jonathan Richman, with more observational lyricism. The singles "Make Time for Change" and "Take Back the Track" are included.© Rich Wilson /TiVo
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A N N I V E R S A R Y
Bryson Tiller
R&B - Released October 2, 2020 | TrapSoul - RCA Records
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Given its look and timing -- issued exactly five years after T R A P S O U L, a deluxe edition of which preceded it by a week -- A N N I V E R S A R Y does not appear to be designed as a work of distinct identity. Whereas Bryson Tiller has spoken of his inclination to be a shadowy figure, the singer/rapper's 2015 debut continues to cast a large shadow with a different effect, preventing his successive output from being taken on its own terms. This set's makeup certainly suggests that the artist is OK with it, as he serves up mostly downcast verses and boastful non-sequiturs over torpid booming rhythms. Tiller works with a crew of new and familiar collaborators, and on "Outta Time" calls in major reinforcements, swapping brooding reflections with Drake, backed by sympathetic production from Nineteen85, Vinylz, and Noah "40" Shebib. More deserving of heavy rotation is "Inhale," a seductive warping of the '90s R&B-sampling methodology that's as much a part of Tiller's sound as the rattling percussion.© Andy Kellman /TiVo
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