Album Reviews

In November 2021, Radiohead combined their “twin albums” Kid A (October 2000) and Amnesiac (May 2001) with a previously unreleased outtakes collection, Kid Amnesiae, for the highly anticipated three-disc Kid A Mnesia. Several formats are available: US and EU standard weight 3LP pressings on black (standard) and red (limited) vinyl, a similar 3CD set, a Japanese 3CD featuring Amnesiac B-sides excluded from most other Kid A Mnesia releases, a Kid Amnesiette limited edition double cassette (also featuring those Amnesiac B-sides), and the sold-out “Scarry Book.” The latter, a super deluxe 3LP package, lacks the Amnesiac B-sides but features a 36-page large-format art book and the 3 LPs on 180g cream-colored vinyl.

Four years after his addiction-and breakup-themed magnum opus Ladies And Gentlemen We Are Floating In Space, Spiritualized’s J Spaceman (Jason Pierce) reemerged with the band’s fourth album, 2001’s Let It Come Down. Greeted with high anticipation—and recently reissued as the final installment in Fat Possum’s Pierce-supervised Spaceman Reissue Program—Let It Come Down is now commonly seen as the moment when Spaceman lost the plot. “It all fell apart a little bit during this period,” he admits. Two decades later, Let It Come Down stands less as a great Spiritualized record and more as a product from the bygone era of expensive recording budgets and ample studio time.

Crescent, John Coltrane’s 9th Impulse! Album, released in the summer of 1964, followed a pair of live albums (Live at Birdland and Impressions [mostly live tracks from the Vanguard dates]) and a pair of collaborations (Duke Ellington & John Coltrane, and John Coltrane and Johnny Hartman) with Ballads—a quickly recorded album of standards sandwiched in between.

Listening today to this record originally released February, 1962—60 years ago—it’s difficult to understand why it created controversy so intense that Downbeat’s editor at the time invited Coltrane and Eric Dolphy to “defend” it in print. On the other hand, if you’re looking for a jazz album entry point, this live album probably wouldn’t be it—especially side two. Sixty years on, “Chasin’ The Trane” (name given by RVG who said he literally had to “chase Coltrane” on mic to capture him during the performances) might still send some running for cover (or covers, of which there’s but one on here, Hammerstein and Romberg’s beautiful “Softly As In a Morning Sunrise”).

The Blakey was cut from 96/24 files according to Chris Bellman at BG Mastering for the surmised reason: the songs were on multiple tapes and the most expeditious way to produce cutting masters was to first digitize. The annotation wasn't clear but I don't think anyone was "trying to pull a fast one"._MF). It was Beatlemania when Art Blakey and the Jazz Messengers landed at Haneda Airport, New Year’s Day, 1961. Of course, The Beatles hadn’t yet happened, but neither had Blakey and his group ever been greeted in America with the rousing enthusiasm they encountered both upon landing and during the series of shows in which they performed in Japan that month.

This Village Vanguard Inside Straight set was recorded December 2014 a week before bassist McBride recorded with his trio another Village Vanguard engagement that became his Mack Avenue debut album.