Various Artists - Soul Hits of the '70s: Didn't It Blow Your Mind, Vol. 6 (1991)

Because one simply doesn't pass over volume 6 of this 20 volume Rhino series when it pitifully sits in the used bins, begging to be played loudly. The series is long out-of-print and many of these volumes are sometimes difficult to find and obtain. However, as more and more people foolishly cast away/sell their CD collections in favor of streaming and/or vinyl, CDs in this series are now hitting the secondary markets at somehwat reasonable prices and here we are. Singles included on this volume charted in late 1971, when your humble blogger was 5 years old. Nice mix of big hits and singles that peaked a little further down the charts. 12 tracks, 43 minutes and when it's over, I'm left wanting more.

Tracks, with my favorites indicated (✔) and Billboard chart peaks:

• Whatcha See Is Whatcha Get - The Dramatics (#9 pop, #3 R&B) ✔
• Ain't No Sunshine - Bill Withers (#3 pop, #6 R&B)
  Produced by Booker T. Jones. Previously appeared on this blog on Bill Withers' Greatest Hits & Forever Soul, Vol. 1.
• Women's Love Rights - Laura Lee (#36 pop, #11 R&B) ✔
• The Love We Had (Stays On My Mind) - The Dells (#30 pop, #8 R&B) ✔
• Thin Line Between Love & Hate - The Persuaders (#15 pop, #1 R&B)
  Previously appeared on this blog in the Atlantic Rhythm and Blues 1947-1974 box set.
• You've Got To Crawl (Before You Walk) - The 8th Day (#28 pop, #3 R&B) ✔
• I've Found Someone Of My Own - The Free Movement (#5 pop, #20 R&B) ✔
• Theme From Shaft - Isaac Hayes (#1 pop, #2 R&B) ✔
  Previously appeared on this blog on Billboard #1 Hits Of The '70s.
• A Natural Man - Lou Rawls (#17 pop, #17 R&B) ✔
• Have You Seen Her - The Chi-Lites (#3 pop, #1 R&B) ✔
• Where Did Our Love Go - Donnie Elbert (#15 pop, #6 R&B)
• Respect Yourself - The Staple Singers (#12 pop, #2 R&B) ✔
  Grammy Hall of Fame Award Winner, 2002

9 of the 12 tracks are apparently new to my shelves, but I can't believe Have You Seen Her and Respect Yourself haven't already appeared here.

Personal Memory Associated with this CD:  None

Previously revisited for the blog:
Volume 5
Volume 13
Volume 14
Volume 15

Bill Evans - Alone (1970)

Note: the CD I listened to was the 1988 edition with two additional tracks.

Just Evans playing standards. No band, no overdubs. Simply beautiful and highly recommended.

Grammy Award winner in the category of Best Instrumental Jazz Performance, Small Group or Soloist with Small Group, the third of five wins in that category for Evans.

Original 1970 liner notes written by Evans himself.

Reviews/ratings:

• CashBox: "one of the most listenable of jazz decks to be issued in recent times."
• Record World: "There's something particularly personal about this disk."
• High Fidelity: "Magnificent"
• Stereo Review: "For my money, this is one of the finest records in a decade."
• Downbeat (★★★★★): "the real Bill Evans stands out in boldest relief in this group of straight solo performances."
• The Penguin Guide to Jazz (5th ed., 2000):★★★
• The Rolling Stone Jazz Record Guide (1985): ★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Jazz: #18

Tracks:

My top picks are tracks 1-7.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
The Paris Concert, Edition Two (1984)
The Paris Concert, Edition One (1983)

Tchaikovsky - 1812 Overture/Capriccio Italien/Romeo & Juliet (1990)

Leonard Bernstein conducting the Israel Philharmonic Orchestra, recorded at Frederic R. Mann Auditorium (now the Charles Bronfman Auditorium) in Tel Aviv.

Under the banner of the "Leonard Bernstein Edition"  this CD is a repackaging of previously released recordings. In the Maestro's own words:

The performances included on this CD carry all the Bernstein hallmarks: spirited tempo, bright timbre, exaggerated dynamics, and extremely passionate.

1. 1812 Overture, Op. 49 (recorded May 1984)
2. Capriccio Italien, Op. 45 (recorded May 1984)
3. Romeo & Juliet (recorded October 1978)

My favorite piece of these three is the Capriccio Italien, but the best performance on the disc is the 1812 Overture.

Personal Memory Associated with this CD: None

Tears For Fears - The Hurting (1983)

Note: the CD I listened to is a 1985 Japanese import of a CD printed in West Germany. (Only CD geeks will be interested in this next bit:) It has the Mercury records "orbital" logo in the center of the disc. According to the research staff here a blog headquarters, at some point in the late '80s, the plant used by Polygram in West Germany changed from manufacturing fully aluminum-spluttered polycarbonate discs such as this particular CD to using polycarbonate discs with clear inner rings. This copy is housed in a smooth-sided jewel case. Sorry, no obi.

My high school friend, Jim, introduced me to so much good music in the early '80s. Knowing my love for synthpop in 1983, he played this album for me with an emphasis on the single Change (#73 pop, #22 rock). As he often did, he then lent me his copy of The Hurting and, looking back, I don't think I gave it a proper chance because I dug Change and, at first blush, I didn't believe anything else on the album was as good as that particular cut. I've definitely changed my mind since then. In order to avoid unleashing any repressed angst, I usually ignore the lyrics and just enjoy the hooks and there's plenty of those. With all the critical acclaim (see below) and MTV exposure, I have no idea why the group didn't hit big in the US with this one - they'd have to wait a couple of years for that.

Don't ask me why, but this is an autumn/winter album for me while the very similar Songs From The Big Chair is a spring/summer album for me.

Press of the time:

• CashBox: "explosive Euro-pop filled with demanding angst-heavy lyrics instead of the usual boy-meets-girl drivel."
• Musician: "they've managed the trick of being fashionably austere and immensely hummable at the same time."
• Smash Hits (8 out of 10): "there's no doubting the talent on display"
• Stereo Review: "a powerful record and one of the real surprises of the year"
• Trouser Press: "glossy and danceable, with breezy vocals - high tech with considerable finesse to back it up."
• Rolling Stone (★★★): "it is a testimony to their refined pop instincts that they manage to produce this much pleasure from the pain."

Album chart peaks:

• US Billboard 200: #73
• Billboard Rock: #41
• CashBox: #59
• Rolling Stone: #41

Tracks: In 1983, I thought the best track was Change. These days, I think Pale Shelter is the best track, followed by Mad World then Change. I also dig the title track, Suffer The Children, and, if the mood is right, The Prisoner. One wonders why young Mark was captivated by the stark minimalism of The Chauffeur on Rio, yet not Ideas As Opiates on this album. Again, my opinion of that track changed over the years.

Personal Memory Associated with this CD: see above

Previously revisited for the blog:
Tears Roll Down (Greatest Hits 82-92) (1992)
Songs From The Big Chair (1985)

Lee Ritenour - Color Rit (1989)

For the most part, this album feeds Ritenour's love for Brazilian music and acoustic guitar (see also the earlier Ritenour albums Rio, Harlequin, & Festival. I haven't yet checked out his latest release, simply titled Brasil). However, there's a few cuts that, while good for what they are, seem somewhat out of place on a Brazilian album. Familiar names in the credits include Ernie Watts, Paulinho Da Costa, Russell Ferrante, Jerry Hey, and Phil Perry. Over at Allmusic, Richard S. Ginell writes "this CD represents a slight dip for Ritenour at a stage in his career when his albums were gradually becoming classier and more musical" and while that's true, there's still some good smooth jazz to be had here.

Ratings:

• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Contemporary Jazz: #4
• Billboard R&B: #62
• CashBox Contemporary Jazz: #7

Tracks: 7 Ritenour originals, 1 each from Brazilian musicians Ivan Lins and Gonzaguinha, plus a cover of an Isley Brothers tune. Vocals on four of the tracks. The good tracks that don't really fit the theme are Mister Reggae, I Can't Let Go, and Malibu (a remake of a track from Rit/2). My favorites are Bahia Funk, the title track, Tropical Storm, and Etude.

Personal Memory Associated with this CD: None.

Previously revisited for the blog:

Amparo (2008)	Festival (1988)
Rit's House (2002)	Harlequin (1985)
Two Worlds (2000)	On The Line (1983)
This Is Love (1998)	Rit/2 (1982)
Larry & Lee (1995)	"Rit" (1981)
Stolen Moments (1990)	Rio (1979)

Curtis Fuller - The Opener (1957)

Note: the CD I listened to was the 2008 Rudy Van Gelder Edition.

Fuller was 22 years old when this album was recorded, so I have to forgive him for sounding like other trombonists (J.J. Johnson & Kai Winding) and the fact that it's a trifle bland. However, the restrained cocktail music here is enjoyable in the right setting. Timmons really impresses on piano.

Original 1957 liner notes written by Robert Levin, writer of liner notes for over 100 Blue Note albums. Noted jazz critic Bob Blumenthal wrote additional notes for the 2008 reissue.

Fuller - trombone
Hank Mobley - tenor saxophone
Bobby Timmons - piano
Paul Chambers - bass
Art Taylor - drums

Reviews/ratings:

• DownBeat (★★★) : "Fuller manifests what seems to me to be an annoyingly limited sense of dynamics that lends a sameness of sound to his performances, regardless of tempo."
• Billboard (67 out of 100): "interesting, but the set won't be easy to sell "
• The Virgin Encyclopedia of Jazz (1999): ★★★★

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: Of the 6 here, my favorites are the standards A Lovely Way To Spend An Evening,Here's To My Lady, and Soon. Also included are two blues-based originals by Fuller and a calypso number from bassist Oscar Pettiford appropriately titled Oscarlypso.

Personal Memory Associated with this CD: None.

Various Artists - The Alamo Concert (2001)

This CD is a collection of classical and jazz pieces performed by various San Antonio-based artists/groups for a broadcast of National Pubic Radio's Performance Today classical music program. As described on the back insert:

I couldn't find much online about the disc - the website listed on the CD insert (www.alamoconcerts.org) is long gone if it ever truly existed - so the following data is about as reliable as a Wikipedia article. It appears the music was recorded on September 15-17, 1997 for broadcast on NPR stations in early November of that year (very brief descriptions of the broadcasts can be found here and here). The CD has a copyright date of 2001 and I'm guessing it was given as a premium to station members who donated a certain amount to the local classical music NPR station, KPAC.

The tracks that feature the San Antonio Symphony were recorded at the Watson Fine Arts Center Theatre on the campus of St. Philip's College. All others were recorded at Alamo Hall, a remodeled fire station deeded to the Alamo by the city of San Antonio in 1938 that currently serves as an event venue near the famous Alamo chapel. The latter probably chosen for historical location rather than acoustical reasons.

A nice mix of ensemble sizes, musical styles and eras. Composers hail from many locales with strong ties to the area: Peru, Spain, Mexico, and, of course, Texas. Performances are strong and the extensive liner notes detail each piece, performer, and composer. A well-executed endeavor.

Tracks:

My top picks are tracks 2, 5, 6, 7, & 15. There's some uncomfortable "Southern Pride" lyrics on track 10 plus I'm always uncomfortable hearing a classically trained voice singing folk songs, but that's the only skippable track.

Personal Memory Associated with this CD: When the San Antonio Symphony folded after 83 years, I went searching for any recordings by the orchestra. Turns out they are few and far between. However, the search led me to this CD, which features the SA Symphony on 4 of the disc's 15 tracks.