How fast was Miles Davis moving in 1970? Listen to the title track on the double LP recorded late summer 1969 and released the next April and then play the version on the bonus live at Tanglewood CD recorded August 1970. 

True Davis had augmented the group that played on the album with second keyboardist Keith Jarrett and percussionist Airto Moreira, and Gary Bartz had replaced Wayne Shorter, but the "Bitches" Brew" at Tanglewood had taken the original album's murky, mysterious head trip and turned it into a deep tissue full body massage!

Equipped with John Mellencamp's then recently acquired vintage 1/4" reel-to-reel 1955 Ampex 601 mono tape recorder  and a pair of iconic 50's era RCA ribbon microphones ( a 77 DX and 44 used singly) presumably supplied by producer T-Bone Burnett, the duo, accompanied by Mellencamp's wife Elaine, who shot the album's cover photo, hit the road during a break in last summer's  Bob Dylan-John Mellencamp-Willie Nelson tour to record thirteen freshly penned songs Mr. Mellencamp had written over thirteen prolific days.

Drawn from a list of "100 Essential Country Songs" her dad penciled on a yellow legal pad after realizing that his young daughter didn't know any of what he considered to be part of his, and therefore her musical DNA, Roseanne Cash's The List is a full circle tribute to her father Johnny and her musical homecoming. It's an album the elder Cash would have been thrilled to hear.

The opener to this heavily produced album “We Belong Together” owes its existence to Bruce Springsteen, but most of the rest channels Laura Nyro.

 Old school talent packaging held sway in the early 1980s and the record labels had the money to invest in their choices. This follow up to Ricki Lee Jones’s debut is a production spectacular the likes of which no longer exist unless the artist has deep personal pockets.

The opener to this heavily produced album “We Belong Together” owes its existence to Bruce Springsteen, but most of the rest channels Laura Nyro.

This 1957 set spotlights the obscure Chicago alto sax hard bop player John Jenkins who led but one Blue Note session and three altogether in his short recording career, which he ended in the early '60s. 

But during that short burst he played with Mingus, Art Farmer and many other greats. He's backed here, (shadowed would be a better word for it) by guitarist Kenny Burrell and a stellar rhythm section of Sonny Clark, Paul Chambers and Mingus drummer Dannie Richmond.