Richard Lehnert

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Richard Lehnert  |  Jul 29, 2011  |  First Published: Oct 15, 1988  |  0 comments
Lyle Lovett: Pontiac
MCA/Curb MCA-42028 (LP), MCAD-42028 (CD). Willie Pevear, eng.; Tony Brown, Lyle Lovett, prods. DDA/ DDD. TT: 35:41

Jesse Winchester has been silent for seven years now, and we needed some mint-julep–voiced cowboy to write and croon such smooth, fluid, irresistible songs, no sharp edges and none needed, thanks. Thank God Lyle Lovett stepped in; we could have done much, much worse.

Richard Lehnert  |  May 31, 2011  |  First Published: Dec 01, 1988  |  1 comments
CHARLIE PARKER: Bird (Original Soundtrack)
Charlie Parker, Charles McPherson, alto saxes; Red Rodney, trumpet; Monty Alexander, piano; Ray Brown, Ron Carter, basses; Charlie Shoemake, vibes; John Guerin, drums; others
Columbia SC 44299 (LP), CK 44299 (CD). Bobby Fernandez, Neal Spritz, engs.; Clint Eastwood, Lennie Niehaus, prods. ADA/ADD. TT: 41:21

Unlike Round Midnight, which encased Dexter Gordon's Bud Powell character in a soft-focus, romanticized, soundstagily mythic NY/Paris jazz juncture that never quite was (Herbie Hancock's music direction was deliberately inauthentic for that or any time or place other than the film studio), producer/director Clint Eastwood's labor-of-love Bird attempts to place Charles Christopher Parker Jr. squarely in the bebop world he created. The modern musicians he "plays" with here blow strictly in that tradition, accompanying Parker's solos, as peeled off the original Savoy, Verve, and home recordings with audio wizardry (massive EQing, dynamic noise filters, etc.).

Richard Lehnert  |  Apr 28, 2011  |  First Published: Jan 01, 1989  |  1 comments
BOBBY KING & TERRY EVANS: Live and Let Live!
Rounder 2089 (LP), CD 2089 (CD). Larry Hirsch, eng.; Ry Cooder, prod. AAA/AAD. TT: 44:42

If you've heard a Ry Cooder album in the last 12 years, you've heard Bobby King and Terry Evans—they're the gorgeously voiced gospel/R&B singers who've backed up Ry while he's learned to sing in public—and from whom he can't help but have learned a lot. To crib from the liner notes, King is from a Louisiana gospel background, while Evans sang R&B in Mississippi. Their music together is a seamless blend of the best of both sides of the churchyard gate, smack dab in the middle of the strongest undercurrents of American music. Virtually every tune is a gem, but "Let Love Begin," so warm and lovingly sensual it'll melt your speakers, and the best version I've ever heard of "Dark End of the Street," are instant classics. "Saturday Night" has a hint of sprung Cajun rhythm, and "Let Me Go Back to the Country" has that vital feel of a pick-up band one by one sitting down to sit in, music made for the sheer joy of singing and playing. Only "Bald Head," another misogynistic Cooder tune, falls flat, though not for lack of trying by King & Evans.

Richard Lehnert  |  Mar 04, 2011  |  First Published: Mar 01, 1989  |  0 comments
KEITH JARRETT: Dark Intervals
Keith Jarrett, piano
ECM 1379 (837 342-1, LP; -2, CD). Kimio Oikawa, eng.; Manfred Eicher, prod. DDA/DDD. TT: 58:22

After a five-year hiatus in which he explored jazz standards, classical music, the clavichord, and the unclassifiable Spirits, Keith Jarrett has returned, however briefly, to the form that gained him his widest reputation: solo piano improvisations. But with a difference—only a single LP this time (instead of two, three, or ten), that LP composed of eight short sections, each with a title. This is a far cry from unbroken piano improvs spanning three LP sides, titled only with the name and date of the venue.

Richard Lehnert  |  Jan 02, 2011  |  First Published: May 02, 1989  |  1 comments
The ideal rock singer/songwriter? Someone who addresses adult issues with all the passion of adolescence (than which, believe me, there is none more monomaniacal—there's no righteous indignation like a teenager's). Someone who can sing about him- or herself and strike the universal; someone who can tell a story of what the swells call "the human condition," or of some social injustice, in terms of how it affects a single life in all that life's unique details. In this case, some musical near-illiterate like "The Beloved Entertainer," as it says on the little brass nameplate under the harlequin-painted face exploding from the golden Warner Brothers shield on the cover of Spike—The Little Hands of Concrete himself.

Richard Lehnert  |  Oct 28, 2010  |  First Published: Jul 28, 1989  |  0 comments
The Neville Brothers: Yellow Moon A&M CD 5240 (CD). Malcolm Burn, eng.; Daniel Lanois, prod. AAD. TT: 53:01
Richard Lehnert  |  Oct 01, 2010  |  First Published: Aug 01, 1989  |  0 comments
MAHLER: Das Lied von der Erde
James King, tenor; Dietrich Fischer-Dieskau, baritone; Vienna Philharmonic, Leonard Bernstein
London (CD only). Gordon Parry, eng.; John Culshaw, prod. AAD. TT: 66:32
Richard Lehnert  |  Jul 02, 2010  |  First Published: Nov 02, 1989  |  0 comments
LAURA NYRO: Live at the Bottom Line
Cypress YL6430 (2 LPs), YD6430 (CD). Mark Linett, eng.; Laura Nyro, prod. AAA/AAD. TT: 62:00
Richard Lehnert  |  May 03, 2010  |  First Published: Jan 03, 1990  |  0 comments
DANIEL LANOIS: Acadie
Opal/Warner Bros. 25969-1 (LP), -2 (CD). Daniel Lanois, prod.; Malcolm Burn, Mark Howard, engs. AAA/AAD. TT: 41:19
Richard Lehnert  |  Apr 26, 2010  |  First Published: Dec 26, 1994  |  0 comments
The Incredible String Band
Hannibal HNCD 4437 (CD only). TT: 45:15
The 5000 Spirits or The Layers of the Onion
Hannibal HNCD 4438 (CD only). TT: 50:06
The Hangman's Beautiful Daughter
Hannibal HNCD 4421 (CD only). TT: 50:12
Wee Tam & the Big Huge
Hannibal HNCD 4802 (2 CDs only). TT: 87:49
Changing Horses
Hannibal HNCD 4439 (CD only). TT: 50:24
I Looked Up
Hannibal HNCD 4440 (CD only). TT: 41:30
All above: Joe Boyd, prod.; John Wood, eng. AAD.

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