George Shearing Quintet with Nancy Wilson (1961) the Swingin’s Mutual (LP) Capitol (ST 1524)

George Shearing Quintet with Nancy Wilson

the Swingin’s Mutual 

1961

Capitol (ST 1524)

produced by Dave Cavanaugh and Tom Morgan

**** recommended
While all of Nancy’s 1960s albums will likely please her serious fans, some dates clearly stand out, and this early one with Shearing is clearly one of them.

The alternating back and forth between instrumental and vocal cuts works wonderfully, like pearls and diamonds lined up in a bracelet, and it causes one to wonder why this form of sequencing isn’t used more often.  Instead of forcing the use of vocal fillers–too often an issue with albums of the 60s–this format fills the room with something worth talking about, works like a healthy conversation, and it offers space and repose, allows time for the music to sink into your soul.  And with Nancy offering the vocals, the sequencing works like a tease, the instrumentals like head-spinning pauses between kisses.

Along with the two stars, vibraphonist Warren Chiasson and guitarist Dick Garcia get a little time to get their offerings into the conversations.   It really doesn’t matter if you prefer Nancy’s jazz dates or her pop ones, this one will please everyone.

— winch (author of

LINK TO SELLERS:

Toots Thielemans (1959) The Soul of Toots Thielemans (LP) Signature (SM 6006)

Toots Thielemans

The Soul of Toots Thieleman 

Recorded 1959, released 1960

Signature (SM 6006)

**** recommended

For this 1959 date, Toots is backed wonderfully with three Americans, Ray Bryant (Philly) on piano, Ray’s brother Tom on bass, and Oliver Jackson (Detroit) on drums, all the members helping to set the tone for the meeting and helping bringing Toots into their country, planting the sound deep into American soil, Ray getting plenty of time to get his piano into the conversation.

Of course, as the billing suggests, this is Toot’s album, his last name showing on all the credits of the originals on this set, his playing gracing every selection, the talented Toots alternates between harmonica and electric guitar, even whistling through his original “Brother John” that closes the set.

Toots shows he was not just an outstanding harmonica player, but a great guitar player as well–showing this clearly on cuts such as “Lonesome Road”–showing that the harmonica can color in a selection as much as any horn, and showing that the electric guitar can do the same. While blues and jazz guitar players revealed the ability for the guitar to offer rhythm and lead at the same time, adding electricity offered even more, making it easier for the guitar to fill in the song with colors much like horns had done for centuries.

This whole set is thoroughly enjoyable, a mix of originals by Toots and tunes by others—old tradition songs and jazz standards, Garner’s “Misty,” Reinhardt’s “Nuages,” and Parker’s “Confirmation”–the meeting laid back yet swinging, taut as a congregation yet relaxed as a Sunday afternoon, swinging like a porch swing with autumn in the air, the warmth of summer mixing with the latter parts of the year, youthful as young man, yet thoughtful as an elder. This might not be a great album, but it’s certainly a good one.

— winch (author of

 

LINKS TO SELLERS:

 

 

Harlan Howard (1961) Sings Harlan Howard (LP) Capitol 1631

Harlan Howard

 Sings Harlan Howard

1961

Capitol 1631

Produced by Ken Nelson

*** (noteworthy)

While sources are inconsistent–likely because facts are hard to determine when an artist comes from poor rootless beginnings–apparently Harlan was born in Detroit in 1927 and grew up in Michigan and Kentucky.  He didn’t find success in his life’s calling until he was in his 30s, just before settling in Nashville and recording this debut album.

While he released a few of his own albums, he will be remembered mostly as a songwriter, for writing thousands of songs, many of which would become hits for various artists, first for hillbilly stars but also for soul and jazz artists. For example “Busted” would be a hit for both Johnny Cash and Ray Charles in 1963, and while “Chokin’ Kind” was first recorded by Waylon Jennings, it would become Joe Simon’s first number-one hits on the R&B charts.

This album came at a time when he was beginning to make a name for himself, and this set showed that he likely wasn’t going to run out of songs, as this features all new songs–from heartbroken ballads to the rather-dark humor of “We’re Proud to Call Him Son.”  While Howard will be remembered for his songwriting (and for defining country music as “three chords and the truth”), this albums shows he had a good voice, perhaps coming out of Hank Williams and Ernest Tubb (although I’m sure he’d note others as well) and perhaps he should have been given more opportunities to record his own material.  This isn’t essential but it suggests that fans of this artist (or hillbilly music in general) might be advised to check out Howard’s own recordings (along with the material he provided for others).

— winch

 

“We’re Proud to Call Him Son” download:

Timi Yuro (1963) Make the World Go Away (LP) Liberty 3319

Timi Yuro

Make the World Go Away

Liberty 3319

1963

**** (recommended)

When an Italian-American from Chicago sings an album full of hillbilly songs, probably the last thing you’d expect is a set of soul music, but that’s what you get.

Not only is this a soul album, it’s a good one, likely coming out of Ray Charles’ albums from a few years earlier.  Like with Ray’s country albums, sometimes the arrangements are a bit much, but fortunately Yuro’s voice shines through.

If you’re looking for an intro to this talented singer, this is a good place to start.

— winch

author of

Les McCann & Eddie Harris (1969) Swiss Movement (LP) Atlantic 1537

Les McCann & Eddie Harris

Swiss Movement

Atlantic 1537
Produced by Nesuhi Ertegun & Joel Dorn
recorded June 1969
Rating:**** (Recommended)

Classic spontaneous combustion soul jazz from McCann/Harris (they’d never rehearsed or played together), the set opening with a definitive version of McCann’s signature tune “Compared to What?” (Gene McDaniels), the rest instrumental, cooking from the get-go, keeping it going from go to whoa, turning down the flame and getting a bit reflective on the cuts that close the sides.

Solid set from 1969, essential listen for fans.

— winch

Doug Clark & the Hot Nuts (1963) On Campus (LP) Gross 102

Doug Clark & the Hot Nuts

On Campus

Gross 102

1963

Rating: *** (noteworthy)

“For Adults Only” toasts, limericks,…songs about sex.  And two instrumentals.  Enjoyable set of playful R&B.

   

The Doors

The Doors

The Doors

Elektra (74007)

1967

Producer: Paul Rothchild
Engineer: Bruce Botnick

Rating: **** (Recommended)

Released March 1967, reached #1 (ignored in UK)

Debut from this outfit, its blues-based sound pure L.A., a refreshing alternative to the meandering California psychedelic from Frisco.  While it gets a bit silly at times, they always manage to pull out the slack, laying down a string of solid cuts that conclude with the epic “The End.”  While, they had several solid sets, this debut was one of their best.  It serves as a good intro to this band, and it’s essential listening for fans.

— winch

The Doors

Waiting For the Sun

Elektra (74024)

1968

Producer: Paul Rothchild
Engineer: Bruce Botnick

Rating: *** (Noteworthy)

Released August 1968 (September in the UK), reached #1 (#16 in the UK)

While this L.A. outfit had a strong beginning, cracks begin to show with this third set.  Much of the material has a dreary feel to it, perhaps capturing not only the strain of fame on this band, but also the wilting of the flowers from the summer of love.  Like all their 60s albums, this has its moments, but it’s their weakest album with Morrison.

— winch

The Doors

The Soft Parade

Elektra (75005)

1969

Producer: Paul Rothchild
Engineer: Bruce Botnick

Rating: **** (Recommended)

Released August 1969 (September in the UK), reached #6 (ignored in the UK)

Perhaps recognizing that their previous album was a bit depressing, they pick up the pace and fill in the sound for this fourth set, backing the band with big arrangements and calling in plenty of guests.  While this was an improvement over the third album, many felt otherwise.  The Doors had finally found an audience in the U.K. with the third set, but they lost them again with this collection. 

The set gets a bit overblown and silly at times, but the same is true with all their albums.  This doesn’t have the dark menace of the early material, but it sees the band pulling out the slack and charging forward, something they’d continue doing in the 70s.  It’s another worthwhile listen for fans.

— winch

Deep Purple (1969) S/T (LP) Tetragramme 119

Deep Purple

Deep Purple 

Tetragramme 119 

1969

Rating:*** (noteworthy)

Released July. ’69 (Nov. ’69 in the UK on Harvest Records), reached #162 in U.S.

Produced by Derek Lawrence

Purple’s self-titled third album, the last with the original line up.  Both Simper and Evans would soon leave the band (Evans going to Captain Beyond).  As with the previous two albums, this was released on Bill Cosby’s Tetragramme label, and unfortunately for Purple, the label would fold in July of 1969, the same month this set was released.

On this album, Purple sounds like a composite of many of the heavy bands of this era (Zeppelin, Cream, Floyd, Hendrix, Iron Butterfly, King Crimson…) but the sound ends up being something unique to Purple.  While “April” foreshadows Purple’s next album (the absurd Concerto For Group and Orchestra), other cuts hint toward the semi-progressive hard rock (aka heavy metal) of their early 70s material.

When most people examine how this band influenced rock music, they look to the highly influential Machine Head era, but for better or worse, the strong influence this band had on rock music can certainly be heard at this point, on this album.

— winch

 

David Axelrod: producer

Ray Anthony

Swim, Swim, C’mon Let’s Swim

Capital T2188
ProducerS: David Axelrod & Bill Miller
1964

Rating: *** (Noteworthy)

Jazz trumpeter and band leader Ray Anthony goes all rock & roll on us, which is usually a mistake for an aging big band leader, but here he blows the top off the thing, driving rhythm, sax honking,organ, guitar cranked, horns blasting, girls singing, black male lead vocalist on some cuts, a mix of instrumental and vocal cuts, dance craze and crazy, originals and covers–“Twist & Shout,” What’d I Say,” and a “Hard Day‘s Night.”

 

It’s all a little over the top, but forget all that early Beatles, this blows them back to England where they belonged.

The sleeve doesn’t provide credits except Dave Axelrod and Bill Miller as producers, Don Simpson showing up on several song credits. 

David McCallum

McCallum

Capital ST 2748

1968
Produced by David Axelrod
Arranged by H. B. Barnum
1968 

 

Noteworthy ***

The last of four McCallum sets produced by David Axelrod, orchestrated instrumentals focused on recent hits by various groups (the Monkees, Donovan, the Beatles, etc.), the set closing with three originals, one for each of the named contributors: Axelrod, Barnum and McCallum.  (It’s not clear what British actor McCallum contributed other than that one cut.)

Only Axelrod could pull something like this off, filling the sound with the Barnum arrangements and using his signature punches to lift this a few notches above elevator music.

(producer’s name misspelled on album.  Axelrod is the correct spelling.)

The rhythm section and other instruments rise out of the mix to provide the punches, then sink back down into the arrangements.  While the contributions of an unnamed guitarist doesn’t get a lot of spotlight, the rarity of those moments make them stand out.
(Likely the line up featured Howard Roberts, guitar; Carol Kaye, bass; and Earl Palmer, drums.)

On “Mercy Mercy Mercy” the groove briefly rises on a guitar-heavy bridge, but they soon descend into two feather-weight originals, the first by Barnum, the second by McCallum.  While it’s not really saying that much, the best of the three originals is clearly Axelrod’s contribution that closes the album. 

There’s nothing here worth searching for, but if this sort of thing is your bag, it’s worth a listen.  It’s pure 1960s and another page in the story of Axlerod.  

— winch

Howard Roberts

Spinning Wheel

Capital (ST-336)
Producer: David Axelrod
1969

Rating: *** (Noteworthy)

While the title of this album obviously refers to the playful version of the Blood, Sweat & Tears number that opens this set, the metaphor also points out how the band runs through a variety of styles, stopping in Nashville for the second cut, then heading over to Memphis for the third cut, Roberts fingerpicking an acoustic guitar on “Country Shuffle” and then putting some fuzz distortion to the Memphis groove of “Gasoline Alley,” moving between these styles with an ease that makes the transition seem as natural as the fact that you can travel between the two cities without leaving the state.

Axelrod’s navigation also likely helped make the set sound fairly cohesive.  Band members get a chance to strut their stuff but keep from wandering too far from the longitude or latitude of the compositions.  The producer was likely part of that control as the music seems stamped with his involvement.

You could certainly use this set to show that Axelrod didn’t have the Midas touch, but while some cuts are quite lacking, others show elements of that balance of exploration and economy, that pop complexity, that punch that Axelrod was so good at helping deliver.  

Producing this album was perhaps the return of a favor, as Roberts had just played on Axelrod’s first two solo albums, Song of Innocence and Song of Experience.  This album doesn’t come close to the dates that secured H.R.’s place in the annals of jazz, but a few cuts standout from some of his other commercial material.

Band members include Dave Grusin (keyboards), Chuck Domanico (bass), John Guerin (drums) & Tom Scott (sax, flute, organ). 

— winch

Betty Wright (1968) My First Time Around (LP) Atco 33-260

Betty Wright

My First Time Around

Atco 33-260
Produced & Arranged by Brad Shapiro and Steve Alaimo
1968 

 

Good Shit *****

Solid debut from this Florida 14-year-old soul sister.

As the shag zebra-striped outfit suggests, this album wasn’t bubblegum soul but rather a young girl singing like a woman of experience, the presentation making no apologies for the fact that this set is dripping like the dew on a waterbed.  Wright handles the material with ease, contributing one cut herself and making the others her own.  The backing band is in fine form, the arrangements wrapping around her vocals like a silk slip, Murcia snaking his guitar licks into the mix.

This includes all her first A and B sides, and plenty of other gems.  While some cuts are simply classic, the entire set is strong.  No filler this time around.

— winch