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Back To Black
Amy Winehouse
Soul - Released October 27, 2006 | Universal-Island Records Ltd.
Hi-Res
Distinctions
The Qobuz Ideal Discography
With her tragic early death (though hardly surprising given Amy Winehouse's lifestyle) a truly unique voice of contemporary soul stopped singing on July 23, 2011. She has a voice that should never be overshadowed either by her chaotic life covering the pages of British tabloids, or by her struggles with alcohol and drugs, or even the hundreds of videos of failed concerts on YouTube... When the Winehouse phenomenon exploded with this second album, the sublime Back To Black being far superior to her first record Frank, soul music was going through a slump with hollow, syrupy R&B singers and sanitized productions flooding the scene. Few people tried to develop the path established by Aretha Franklin, Ann Peebles, Nina Simone, Tina Turner, Dinah Washington and Marlena Shaw. But then along came Amy Winehouse, with her incredible timbre, her genuine songs (which she wrote herself, unlike 90% of her peers), her vintage-tinged productions (which were never passé) and brass-filled instrumentation. To top it all off, even her image was distinctive: 50’s beehive, biker tattoos and a cheeky attitude. Back To Black topped the charts for months all over the world, and it's still a real masterpiece of soul music and R&B. When critical opinion meets popular opinion – something relatively rare that’s worth underlining - the enjoyment is only tenfold. © Marc Zisman/Qobuz
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Ballads
John Coltrane
Jazz - Released January 1, 1995 | Impulse!
Hi-Res
Throughout John Coltrane's discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn't want to make. These conspiracy theories (and there are more) really just get in the way of enjoying a perfectly fine album of Coltrane doing what he always did -- exploring new avenues and modes in an inexhaustible search for personal and artistic enlightenment. With Ballads he looks into the warmer side of things, a path he would take with both Johnny Hartman (on John Coltrane & Johnny Hartman) and with Duke Ellington (on Duke Ellington and John Coltrane). Here he lays out for McCoy Tyner mostly, and the results positively shimmer at times. He's not aggressive, and he's not outwardly. Instead he's introspective and at times even predictable, but that is precisely Ballads' draw.© Sam Samuelson /TiVo
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The Legendary Prestige Quintet Sessions
Miles Davis Quintet
Jazz - Released January 1, 2006 | Craft Recordings
Hi-Res
In just three sessions between November 1955 and October 1956, Miles Davis and his first quintet recorded enough material for the release of five albums under the label Prestige. With the great Rudy Van Gelder in his studio in Hackensack, New Jersey, this creative marathon produced some of the most iconic albums in the trumpeter’s discography, such as Miles: The New Miles Davis Quintet (1956), Cookin’ (1957), Relaxin’ (1958), Workin (1959) and Steamin’ (1961). Joining him are pianist Red Garland, double bassist Paul Chambers, drummer Philly Joe Jonas and saxophonist John Coltrane (before he became famous as a musical God). Throughout these 32 tracks which are chronologically sequenced and remastered in Hi-Res 24-Bit, the quintet essentially writes the birth certificate for hard bop, defining the genre. Although it often seems to be Miles David’s second quintet (1965-1968 with Herbie Hancock, Ron Carter, Tony Williams and Wayne Shorter) which has pride of place in the jazz history hall of fame, it shouldn’t overshadow this earlier group from the mid-fifties which was equally as influential. Miles’ pared-down style, the originality of Coltrane and his intricate keys and the great precision of Garland’s playing make for some stunning versions of these compositions, which include both popular music and more unconventional and innovative pieces. A must-listen! © Marc Zisman/Qobuz
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Portrayals
Ane Brun
Alternative & Indie - Released March 10, 2023 | Universal Music AB
Hi-Res
Ane Brun’s unmistakable voice incarnates the sweet softness of her ballads in its tonality; mellifluous and light, with a slight tremble that ushers in a precious ephemerality. Playful as Joanna Newsom and Fiona Apple, powerful as Joni Mitchell and Dolly Parton, this Norwegian has reconstituted the art of her elders to come up with her own music, for her own universe. Her personal touch resonates even throughout her covers. To celebrate the 20th anniversary of her career, Ane Brun has returned to her signature move by releasing four perfect compilations, exclusively covers, of which Portrayals is the first volume. “Covers have been such a big part of my career. It’s almost a career in itself. They have their own dynamic. I wanted to celebrate that by giving these songs their own space. It’s always a real creative process to record your own version of someone else’s song. I’m not interested in doing a cover version that sounds like the original…” Like Nina Simone, or, closer to home, Cat Power, the Scandinavian makes every song her own. Something that is all the more impressive given that the "revisited" artists come from any background in whichever decade. Portrayals features tracks from Sade (By Your Side), Nick Cave (Into My Arms), Bob Dylan (Make You Feel My Love), Radiohead (How to Disappear Completely), Emmylou Harris (All My Tears), Foreigner (I Want to Know What Love Is), Alphaville (Big in Japan), Beyoncé (Halo), Rodgers & Hart (Blue Moon), the Beatles (From Me to You) and many others. Magical. © Marc Zisman/Qobuz
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A Wizard / A True Star
Todd Rundgren
Pop - Released March 2, 1973 | Rhino
Hi-Res
Something/Anything? proved that Todd Rundgren could write a pop classic as gracefully as any of his peers, but buried beneath the surface were signs that he would never be satisfied as merely a pop singer/songwriter. A close listen to the album reveals the eccentricities and restless spirit that surges to the forefront on its follow-up, A Wizard, A True Star. Anyone expecting the third record of Something/Anything?, filled with variations on "I Saw the Light" and "Hello It's Me," will be shocked by A Wizard. As much a mind-f*ck as an album, A Wizard, A True Star rarely breaks down to full-fledged songs, especially on the first side, where songs and melodies float in and out of a hazy post-psychedelic mist. Stylistically, there may not be much new -- he touched on so many different bases on Something/Anything? that it's hard to expand to new territory -- but it's all synthesized and assembled in fresh, strange ways. Often, it's a jarring, disturbing listen, especially since Rundgren's humor has turned bizarre and insular. It truly takes a concerted effort on the part of the listener to unravel the record, since Rundgren makes no concessions -- not only does the soul medley jerk in unpredictable ways, but the anthemic closer, "Just One Victory," is layered with so many overdubs that it's hard to hear its moving melody unless you pay attention. And that's the key to understanding A Wizard, A True Star -- it's one of those rare rock albums that demands full attention and, depending on your own vantage, it may even reward such close listening.© Stephen Thomas Erlewine /TiVo
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Back To Black
Amy Winehouse
Soul - Released October 30, 2006 | Universal-Island Records Ltd.
The story of Back to Black is one in which celebrity and the potential of commercial success threaten to ruin Amy Winehouse, since the same insouciance and playfulness that made her sound so special when she debuted could easily have been whitewashed right out of existence for this breakout record. (That fact may help to explain why fans were so scared by press allegations that Winehouse had deliberately lost weight in order to present a slimmer appearance.) Although Back to Black does see her deserting jazz and wholly embracing contemporary R&B, all the best parts of her musical character emerge intact, and actually, are all the better for the transformation from jazz vocalist to soul siren. With producer Salaam Remi returning from Frank, plus the welcome addition of Mark Ronson (fresh off successes producing for Christina Aguilera and Robbie Williams), Back to Black has a similar sound to Frank but much more flair and spark to it. Winehouse was inspired by girl group soul of the '60s, and fortunately Ronson and Remi are two of the most facile and organic R&B producers active. (They certainly know how to evoke the era too; Remi's "Tears Dry on Their Own" is a sparkling homage to the Motown chestnut "Ain't No Mountain High Enough," and Ronson summons a host of Brill Building touchstones on his tracks.) As before, Winehouse writes all of the songs from her experiences, most of which involve the occasionally riotous and often bittersweet vagaries of love. Also in similar fashion to Frank, her eye for details and her way of relating them are delightful. She states her case against "Rehab" on the knockout first single with some great lines: "They tried to make me go to rehab I won't go go go, I'd rather be at home with Ray" (Charles, that is). As often as not, though, the songs on Back to Black are universal, songs that anyone, even Joss Stone, could take to the top of the charts, such as "Love Is a Losing Game" or the title song ("We only said good bye with words, I died a hundred times/You go back to her, and I go back to black").© John Bush /TiVo
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Lady In Satin
Billie Holiday
Vocal Jazz - Released June 1, 1958 | Okeh
Hi-Res
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True Genius
Ray Charles
Soul - Released September 10, 2021 | Tangerine Records
Hi-Res
In the year of his 90th birthday (which he would have celebrated on the 23rd of September 2020 had he not died in 2004), Ray Charles is honoured with a new 90-track compilation box set. Just another compilation like all the rest? Yes and no. Ray Charles is undoubtedly one of the most-compiled artists in the history of music. Published by Tangerine, the label that the musician set up at the end of the 50s to keep the rights to his songs, this box set starts out like all the others: with the post-Atlantic hits, Georgia On My Mind, Hit The Road Jack, One Mint Julep, Busted... These are timeless treasures of proto-soul, but there doesn't seem to be much novelty here. The rest is much more interesting, and much rarer: tracks recorded between the second half of the 1960s and the 2000s, many of which were only released on vinyl, never reissued on CD and until now unavailable on digital. This is the first time that Ray Charles' lesser-known years have been given the compilation treatment in this way, and it is a revelation. In the 90s and 2000s, the production of his songs had a synthetic feel, and they did not age too well. These rarer songs are often hidden gems of southern soul, flavoured with country and wrapped in sumptuous symphonic orchestrations. Whether he is singing the Muppets (It's Ain't Easy Being Green) or Gershwin (Summertime, a duet with Cleo Laine), Ray Charles is always deeply moving. Now, the dream is to hear reissues of all these albums in their entirety. © Stéphane Deschamps/Qobuz
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Lady In Satin: The Centennial Edition
Billie Holiday
Vocal Jazz - Released April 3, 2015 | Columbia
Hi-Res
Booklet
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Ballads
John Coltrane Quartet
Jazz - Released January 1, 1995 | Impulse!
Hi-Res
Distinctions
The Qobuz Ideal Discography
Throughout John Coltrane's discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn't want to make. These conspiracy theories (and there are more) really just get in the way of enjoying a perfectly fine album of Coltrane doing what he always did -- exploring new avenues and modes in an inexhaustible search for personal and artistic enlightenment. With Ballads he looks into the warmer side of things, a path he would take with both Johnny Hartman (on John Coltrane & Johnny Hartman) and with Duke Ellington (on Duke Ellington and John Coltrane). Here he lays out for McCoy Tyner mostly, and the results positively shimmer at times. He's not aggressive, and he's not outwardly. Instead he's introspective and at times even predictable, but that is precisely Ballads' draw.© Sam Samuelson /TiVo
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Here's To Life
Shirley Horn
Jazz - Released January 1, 1992 | Verve
Shirley Horn's meeting with a string section and an orchestra arranged by Johnny Mandel has some exquisite moments although sometimes it is just overly sweet. Horn recorded with her trio (which includes bassist Charles Ables and drummer Steve Williams) first, emphasizing slow ballads. Mandel used the pianist-vocalist's improvisations and chord voicings as the basis for his charts and trumpeter Wynton Marsalis took guest solos on "A Time for Love" and "Quietly There." Shirley Horn fans will love this CD (which includes such numbers as "Here's To Life," "How Am I To Know" and "If You Love Me") but no real surprises or contrast occurs.© Scott Yanow /TiVo
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I've Got the Music in Me
Thelma Houston
Jazz - Released January 1, 1975 | Sheffield Lab
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With Love
Simone Kopmajer
Jazz - Released February 10, 2023 | Lucky Mojo Records
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Live At The BBC
The Beatles
Pop - Released November 1, 1994 | UMC (Universal Music Catalogue)
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
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At The Blue Note - The Complete Recordings
Keith Jarrett
Jazz - Released January 1, 1994 | ECM
The six-CD box set Keith Jarrett at the Blue Note fully documents three nights (six complete sets from June 3-5, 1994) by his trio with bassist Gary Peacock and drummer Jack DeJohnette. Never mind that this same group has already had ten separate releases since 1983; this box is still well worth getting. The repertoire emphasizes (but is not exclusively) standards, with such songs as "In Your Own Sweet Way," "Now's the Time," "Oleo," "Days of Wine and Roses," and "My Romance" given colorful and at times surprising explorations. Some of the selections are quite lengthy (including a 26-and-a-half-minute version of "Autumn Leaves") and Jarrett's occasional originals are quite welcome; his 28-and-a-half-minute "Desert Sun" reminds one of the pianist's fully improvised Solo Concerts of the 1970s. Throughout the three nights at the Blue Note, the interplay among the musicians is consistently outstanding. Those listeners concerned about Jarrett's tendency to "sing along" with his piano have little to fear for, other than occasional shouts and sighs, he wisely lets his piano do the talking.© Scott Yanow /TiVo
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After Hours, Vol. 4
Bill Carrothers
Contemporary Jazz - Released January 1, 1998 | Go Jazz
Booklet
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Back To Black
Amy Winehouse
Soul - Released October 27, 2006 | Universal-Island Records Ltd.
With her tragic early death (though hardly surprising given Amy Winehouse's lifestyle) a truly unique voice of contemporary soul stopped singing on July 23, 2011. She has a voice that should never be overshadowed either by her chaotic life covering the pages of British tabloids, or by her struggles with alcohol and drugs, or even the hundreds of videos of failed concerts on YouTube... When the Winehouse phenomenon exploded with this second album, the sublime Back To Black being far superior to her first record Frank, soul music was going through a slump with hollow, syrupy R&B singers and sanitized productions flooding the scene. Few people tried to develop the path established by Aretha Franklin, Ann Peebles, Nina Simone, Tina Turner, Dinah Washington and Marlena Shaw. But then along came Amy Winehouse, with her incredible timbre, her genuine songs (which she wrote herself, unlike 90% of her peers), her vintage-tinged productions (which were never passé) and brass-filled instrumentation. To top it all off, even her image was distinctive: 50’s beehive, biker tattoos and a cheeky attitude. Back To Black topped the charts for months all over the world, and it's still a real masterpiece of soul music and R&B. When critical opinion meets popular opinion – something relatively rare that’s worth underlining - the enjoyment is only tenfold. © Marc Zisman/Qobuz
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Hate for Sale
The Pretenders
Rock - Released March 18, 2020 | BMG Rights Management (UK) Ltd
Hi-Res
"Too old to know better/ too young for her age," Chrissie Hynde sings, flashing by a mirror in the slow soul music sway of "You Can't Hurt a Fool" from Hate For Sale. There's much truth in the notion that since the deaths of original guitarist Pete Farndon and James Honeyman-Scott who OD'd less than a year apart between 1982-83, The Pretenders have been a Hynde solo project with varying degrees of success. The band’s last record, 2016's Alone, produced by Black Keys’ Dan Auerbach, and featuring the musicians from his band The Arcs emphasized that point. Now under the steady hand of producer Stephen Street (The Smiths, Cranberries, Blur), Hynde and her touring band of 15 years have hatched an album that will especially resonate with fans of the band's early work. With original drummer Martin Chambers aboard, this also feels and sounds like the first true "band" album in a very long time—a throwback move where Hynde, still in good voice, again sounds emotionally engaged. Energized by a solid batch of co-writes between Hynde and touring guitarist James Walbourne, Hate for Sale opens with the snarling title track that both savages an ex-lover, and according to Hynde, serves as a tribute to punk outfit The Damned, whose members she once jammed with just before they became a band. Single "The Buzz," an immediately recognizable return to a vintage Pretenders sound, has changes and rhythms similar to "Kid" from the band's 1980 eponymous debut album. The reasonably credible reggae of "Lightning Man" is another tribute, this time to Richard Swift, a chief mover behind Alone. And a revved up rockabillyized Bo Diddley beat gives "Didn't Want to Be This Lonely" a spirited snap. Forty years on, Chrissie's back with the band. © Robert Baird/Qobuz
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Portrait Of Soul
Geater Davis
Soul - Released June 14, 2023 | Sound Stage 7 - JR Productions - GCM
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