Album Reviews

If you go for Waits’s “Louis Armstrong meets Screamin’ Jay Hawkins meets Captain Beefheart” blues/jazzbo thing, obtaining it live or recorded live is probably as pure as it gets and arguably the best way to consume an artist energized by the crowd’s adulation and an adept touring backup band capable of creating thick, churning atmospherics.

In 1972, Stax Records — the influential Memphis-based label that brought the likes of Otis Redding, Booker T. & The M.G.s, and Albert King to the world — recognized the need for a large-scale, highly visible public event to help heal America’s fractured African American communities. Craft Recordings, the current owners of Stax’s tracks, has seen fit to honor the gamechanging event that was duly dubbed Wattstax with a fantastic 50th anniversary reissue series, the jewels of which are a pair of timely analog-mastered gems: Wattstax: The Living Word and The Living Word: Wattstax 2. Get into the Wattstax groove by reading Mark Smotroff’s review of both of these fine 140g 2LP collections. . .

The winner is physicist Richard Horton, in Huntsville, Alabama. Yes, a scientist who prefers vinyl! And here are the winning answers:

Don Sebesky’s glib big band charts for “California Dreaming” and for a few other tunes on this 1966 Creed Taylor Production may exude almost comical “action television series” theme music swagger (I’m thinking “Mannix”), yet Wes Montgomery’s physical daring and sense of lyrical beauty quickly overcome any reservations you might have about being seen enjoying a blatantly commercial enterprise like this.

Compilations are an ugly concept on vinyl. Either analog copy tapes have been strung together to create a cutting master or digital copies of masters are electronically assembled to produce the same cutting master. Once in a black and blue moon, original masters are removed from their reels and strung together to produce cutting masters made from original master tapes, but those are few and few between and almost impossible to make. They’re rare because few companies allow precious masters to be cut up and because unless the tunes were recorded in the same studio on the same impeccably maintained recorder, it’s very difficult if not impossible to cut a lacquer where the record/playback head’s azimuth changes from track to track.

Euphoria Jazz is a division of Bob Irwin's Sundazed. Sundazed licensed this and other Dawn Records jazz titles from Shout Factory, itself a division of Retropolis LCC. Shout Factory is a recent entity created by Richard Foos, an original founder of Rhino (along with Harold Bronson).