Although King Oliver's Creole Jazz Band was indubitably led by Joe Oliver himself, this deluxe box set, marking the centennial of the band's recorded debut, focuses on its second cornetist, Louis Armstrong, who was making his own debut. These landmark jazz recordings, nearly the first by a black band from New Orleans, had a profound impact on the jazz that came afterward. They were recorded acoustically, without the use of electricity, and previous reissues have suffered from terminal murk, to the point that individual horn lines could hardly be discerned. Richard Martin and the Archeophone label have done an outstanding job of restoration, rendering the instrumental parts with remarkable clarity.
Lizz Wright: Shadow; Shabaka Hutchings: Perceive Its Beauty, Acknowledge Its Grace; Julien Knowles: As Many, as One; KJ Denhert: The Evening News; Sun Ra: At the Showcase: Live in Chicago 19761977.
John Scofield: Uncle John's Band; Mort Garson: Journey To The Moon And Beyond; James Brandon Lewis/Red Lily Quintet: For Mahalia, With Love; Alan Ferber Nonet: Up High, Down Low; Greg Foat & Gigi Masin: Dolphin; Avishai Cohen & Abraham Rodriguez Jr.: Iroko.
"Whip dem, whip dem," sings Junior Byles on "Beat Down Babylon," to the accompaniment of whip cracks that recall the ones on Frankie Laine's "Mule Train." Produced by Mitch Miller some 20 years before Lee "Scratch" Perry produced Byles's reggae hit, "Mule Train" helped establish "the primacy of the producereven more than the artist, the accompaniment, or the material," according to author Will Friedwald, who adds that "Miller also conceived of the idea of the pop record 'sound' per se: not so much an arrangement or a tune, but an aural texture (usually replete with extramusical gimmicks) that could be created in the studio."
Ornette Coleman: Genesis of Genius: The Contemporary Albums, Ches Smith: Interpret It Well, Melissa Aldana: 12 Stars, Tommaso Moretti: Inside Out and Immanuel Wilkins: The 7th Hand.
In the early 1970s, my hometownChicagowas a hotbed of blues. I discovered the blues in high school via the Rolling Stones, and I began to frequent the city's blues clubs as a college student, at first while still underage. From Theresa's, the South Side tavern where Junior Wells performed, I progressed to the West Side, where on weekends I would head down Madison Street to see Howlin' Wolf at Big Duke's Blue Flame Lounge.
Gil Evans Orchestra: Out of the Cool, Harold Land: Westward Bound!, Hasaan Ibn Ali: Metaphysics: The Lost Atlantic Album and Chris Potter Circuits Trio: Sunrise Reprise.