The Riverside Years

With the copyright of many classic jazz recordings having expired in the EU there have been a profusion of public domain re-issues of doubtful provenance and unpredicatable quality. Here is an example: a 5 CD set from 2013 of albums originally on the Riverside label between 1956 and 1960. The re-issue is courtesy of 'Not Now Music'.

In this instance the sound quality is plenty good enough for me. Each CD comes in a card sleeve and includes a single album, with no added bonus tracks. There's also a 20-page booklet with notes by Peter Gamble, the whole package contained in a clamshell box. I had downloaded versions of a couple of the albums included here some time ago, but felt the need to acquire hard copies of his music too. I've never found an affordable Monk LP in the wild, so an inexpensive CD set seemed like a good choice.

Of the albums in the box, The Unique Thelonious Monk is, for me, the least interesting, with Monk tackling seven standards accompanied by bass & drums. The two live albums (Thelonious Alone in San Francisco and Thelonious Monk at the Blackhawk) are both very good and very different from each other. Best of all are the classic studio albums Brilliant Corners and Monk's Music: inimitable and outstanding works of art.

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All Wrapped Up

Here's another of the compilation cassettes I bought this summer, having taken home a Denon twin-deck hi-fi cassette player from the local charity shop. All Wrapped Up is a 1983 compilation of singles by The Undertones, with Side One filled with A-sides, and B-sides on Side Two. A cassette must be the least desirable medium for such an arrangement, with a long rewind required if one just wants to hear the hits repeatedly. The Undertones were unapologetically provincial and anti-fashionable, with their songs sharply-written slices of life that pointedly avoided any mention of politics, or of the then-continuing violence in their native Derry. My favourite tracks are the obvious choices: 'Teenage Kicks', 'Jimmy Jimmy', 'Here Comes the Summer', 'My Perfect Cousin' & 'Wednesday Week'. Their later singles showed increased sophistication but lack the some of the straightforward charm of their earlier work. The B-sides, not unexpectedly, are mo

In Heat

Having acquired the soubriquet "the walrus of love", Barry White thereafter became something of a figure of fun, something that misled me (and presumably others) into disregarding his music. Only within the last few years have I begun to pay it more attention. After picking up a copy of his '74 album Can't Get Enough last summer, which I loved, I sought out some of the music by his protegés Love Unlimited. From a Discogs seller I ordered well-used copies of Under the Influence of... ('73) and In Heat ('74) for only £6.25. The only unappealing thing about In Heat is its awful title. The songs and the singing are strong; the arrangements rich & warmly enveloping. As one would expect from White, the thematic focus is firmly fixed on amatory matters. The opening number 'Move Me No Mountain' (the only one on the record not written by White) offers a refreshing rebuttal to the kind of lyrical hyperbole in songs like 'Ain't No Mountain High E

Bananas Are Not Created Equal

I knew Jay Berliner's name from his contributions to Van Morrison's Astral Weeks and Charles Mingus' The Black Saint and the Sinner Lady , so when I saw this curiously-titled LP at the local charity shop I was intrigued, and bought it even though I had no idea what kind of music it might contain. This was after the days when one could still buy records there for a pound apiece, but I don't think I paid more than a fiver for it. The music turned out to be an all-instrumental blend of funk, soul & jazz. Berliner's virtuoso lead guitar is only one of many attractions here. The band of first-rate session musicians behind him are all uniformly excellent too, and, crucially, sound like they're having a blast. Cornell Dupree's supporting guitar work, while less showy than Berliner's, is beautifully-judged, and the rhythm section is terrific. Arranger/conductor Wade Marcus was no slouch either, judging from the way everything comes together. Two of the funk

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