Revinylization

Last month, I received so few vinyl reissues that I had to invite a guest writer—jazz critic and political commentator Fred Kaplan—to fill in. Fred had managed to grab an early copy of the excellent Analogue Productions 45rpm reissue of Bill Evans at the Montreux Jazz Festival. I didn't get mine until a week or so after his review was submitted.

This month, I have a tall stack to choose from, so I'll mention several.

Next to Christmas carols, Sousa marches, and the collected works of Bobby "Boris" Pickett, there's no more seasonal music than bluegrass, which comes to life at the 30 or so major outdoor festivals and scores of smaller events that take place every summer throughout the US. As I write this, on the day after Thanksgiving, 2019's bluegrass season is only a memory, and the 2020 season is more than a half a year away.

Singer/actress Nancy Priddy's sole commercial recording, a 1968 album titled You've Come This Way Before—originally issued on Dot Records and now reissued by Sundazed Music/Modern Harmonic (Dot/Modern Harmonic MH-8044)—is a period piece. The arrangements, in which strings, flutes, Herb Alpert–esque trumpets, a harpsichord, a Vox Continental organ, and New Christy Minstrel–style backing singers all appear, are somewhat dated. (Indeed, the opening bars of the title song sound like the sort of cheesy electric pop that the producers of This American Life use as incidental music, apparently to express their limitless stockpiles of irony.) And some of Priddy's lyrics make the listener thankful for her poor enunciation.

I'm not in perfect agreement with my colleagues and friends who believe that RCA's Living Stereo LPs from the late 1950s and '60s are the best-sounding commercial classical recordings ever made. To me, the Decca SXL catalog outshines them sonically, in addition to showcasing the talents of an even greater roster of artists. But that's not to say I'm immune to their charms.

The RCA catalog contains some real gems.

I consider Charles Mingus one of the great American composers, at least on par with the most celebrated American classical dudes. With apologies to fans of that music, I'd much rather listen to this record, or any of several other Mingus recordings, than, say, Billy the Kid or Rhapsody in Blue. What makes Mingus great is precisely that, in contrast to Copland and Gershwin, when he explored the vernacular, it wasn't some pale imitation.