New Releases
"Hip Deep" - George Bedard & the Kingpins - Schoolkids' Records
George Bedard and the Kingpins (Richard Dishman-drums; Randy Tessier-bass) have just released their second CD on the Schoolkids' Records label, and the worst thing about it is that it is too short. At a little over 45 minutes, one just gets settled into this fine rock'n'roll when its over. The music is hot, infectious, rock-solid, and a must.
Besides playing tight blues and rock'n'roll, this trio is augmented by some very impressive musical guests. Harmonica player extraordinaire Dave Morris (Big Dave and the Ultrasonics) burns it up in "Gettin' Later." Lyman Woodard plays his great R&B-tinged organ on a couple of cuts - the country bluesy "Nightmare," and Bedard's compositions "Ball and Chain," and "I Sure Don't Want To." And Chuck Berry's incomparable keyboardist Johnny Johnson plays on the slow-groove "Seven Years" and on "Quiet Man."
Overall this is a blues album - not the low-down gut-bucket type (although the acoustic guitar on "Quiet Man" does approach this genre) or the powerful electric blues found in Chicago - but much more in the R&B style heard in the mid-'50s. For instance, "Zip," an exciting instrumental which equally features Dishman and Tessier, is a Red Prysock standard often performed by Prysock in the late '50s. Similarly, "Hawaiian Boogie" is a tour de force by Bedard of this late '40s slide pedal guitar tune.
This record does offer a wider range of music than on Bedard's earlier work. "Ball & Chain" sounds like it carne straight from Mussel Shoals, Alabama, home of the great mid-'60s R&B Fame Records label which featured Persey Sledge and others. Of course, Bedard always includes a couple of extraordinary musical novelty tunes, in this case the chestnut from the Tracey Lee and the Leonards' days - "Dick Around" - the rockabilly "Heeby Jeebies," and a swinging variation of Rossini's overture "William Tell '97."
Perhaps the most representative piece on the recording is Bedard's "Lelia Ann." The ensemble work of the Kingpins is top notch, and the addition of a horn section, coupled with just the right amount of reverb on Bedard's guitar, makes this a very catchy and danceable tune. One shouldn't miss the masterful "I Sure Don't Want To."This could have been the great song that Otis Redding would have recorded if . . . . The tune is soulful; the horns sound like they're straight from Stax Record label in Memphis during the mid '60s.
After listening to this record a number of times, my original criticism still stands. There is so much good and varied music on this CD that I want more. It's just too short.
"Glenn Miller-The Secret Broadcasts" - Glenn Miller - Jazz Heritage
With little argument, the most popular Big Band leader of the late 1930s and early 1940s was Glenn Miller.
One element that distinguished Miller's Big Band ensemble from others was his unique arrangements, particularly the way he voiced the saxophones and trombones. Signature pieces such as his theme song "Moonlight Serenade" and "A String of Pearls" clearly highlight the "Miller Sound," one that is instantly recognized even today.
Miller mysteriously died while flying across the English Channel in December, 1944. He was in England directing an all-star band he had formed as Director of Bands for the Army Air Force Technical Training Command. In 1 994, 50 years after his death, recordings made within three months of his death, long thought to be lost, were discovered in a London Archive. These sessions, featuring Miller' s typical 1 7-piece swing ensemble augmented with a string section, were recorded at 33.3 RP Mson 16inch vinylite material using the state-of-the-art recording methods. The resulting CD - "Glenn Miller-The Lost Recordings" - quickly became a million seller.
Later in 1995, Alan Dell, BBC radio presenter and Miller archivist historian, handed engineer Ted Kendall recordings of Miller's ensemble made in the summer of 1944, prior to the "Lost Recordings." Like the earlier recording, this 3-CD collection entitled "The Secret Recordings" is a masterpiece. Featuring Miller's hallmark pieces e.g., "In the Mood," "American Patrol," 'Tuxedo Junction," plus 38 other selections, the quality of the musicianship, arranging, and sound quality is first rate. Given that Miller had his pick of the best musicians and arrangers of the day , this recording is hot and an exceptional value.
The strings add an interesting touch to the standard swing band. While each tune definitely has that jump-beat, either propelled by the rhythm section or the contrapuntal voicing between the saxes, trombones, and brass instruments, the arrangers - Artie Shaw ' s arranger Jerry Gray , Ralph Wilkinson, Eugene Bergen, Perry Burgett (formerly with Ray McKinley's band), Harry Katzman, and classical arranger Norman Leyden - all added depth to Miller' s enlarged ensemble.
Some of the tunes sound down-right avant garde. Harry Katzman 's arrangement of Gershwin's "Summertime" is wonderful; Eugene Bergen' s strings on "Annie Laurie" sound Debussey-esque; Jerry Gray's arrangement of Verdi's "Anvil Chorus" has never had such power. All these new sounds coupled with Miller' s sense of musicality make for great sustained listening.
A note must be said about the sound quality of these recordings. First, the original recordings were either original master vinyl recordings or first generation tape duplicates. They sounded pretty good right from the start. But all this material went through the CEDAR noise removal system resulting in a product that belies the fact that they were made during an era when recorded music was relatively lo-fi. The recordings are crisp, clear, free of virtually any hiss, and a pleasure to listen to.