Van Morrison His Band And The Street Choir (Rhino High Fidelity Series)
Released in 1970 on the Warner Bros. label, Van Morrison His Band And The Street Choir was recorded at the infamous A&R Studios in New York City earlier that year. As an interesting aside, the original title for this album was Virgo's Fool, Street Choir, and it was changed without Van Morrison's permission by the label and management team at the time. When the project began, Morrison's plan was to uniquely record the album "a cappella," with a backup group that he called "The Street Choir." The end result was that this original plan was somewhat altered, as a backup band was also added for the final recordings that were used.
As legend has it, several of these songs were written for the Moondance and Astral Weeks albums. The feel here is slightly different, but the quality of the compositions and the execution is certainly at the same level of excellence as those two classic albums. Two of my all-time favorite Van Morrison tracks can both be found on this album. "Domino" and "Blue Money" were both hit singles and the former actually surpassed "Brown Eyed Girl" in sales. "Domino" is the most successful single of Van Morrisons career. I do have an original green label Warner Bros. pressing in my collection. The mystique and superb sound of those Warner Bros. green label pressings from the 1970s continues here. Punchy and vibrant, it's hard to imagine that it could get any better.
As a Rhino High Fidelity Series reissue, this new 2023 pressing was cut from the original analog master tapes by Kevin Gray and was pressed at Optimal Media on 180 gram vinyl. This is a limited numbered edition at 5000 vinyl records. Presented via a high quality gatefold outer sleeve, there is also an interesting insert included with notes and an interview by Elliot Scheiner and Cary Frye. As always, Kevin and his magical touch never ceases to amaze. I found the sound stage to be more extended and images were wonderfully locked in and three dimensional—much more defined than the original. There was also a certain level of bloom and warmth that added greatly to the final presentation. This is one of my favorite reissues of the year!
Miles Davis In Person: Friday And Saturday Nights At The Blackhawk (IMPEX Records)
I need to point out that this reissue from IMPEX was originally released in 2012. It has been available off and on since, but it is a limited numbered release at 2000. I have been fighting my FOMO (fear of missing out) tendencies and the escalating prices on Discogs ever since, but it is available again, so I pounced as soon as it was announced. I'm not all that sure how much longer it might be available before it reaches that mind numbing "Out Of Print" classification. So if interested, don't wait too long!
Originally released in 1961 on Columbia, this is one of those "you are there" live jazz recordings that should be a strong consideration for virtually every LP collection (whether you are a jazz fan or not). This was a special occasion, as Miles had never before been recorded live in a club with one of his combos. The performances were recorded over the course of two sets a night on April 21 and April 22, 1961.
Miles is in peak form here with one of his most talented and respected jazz quintets. That includes Miles on trumpet, Hank Mobley on tenor sax, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. This is no random recording or bootleg. The evening was well planned out and set up with an elite engineering group and an elite recording in mind. The Blackhawk in San Francisco was right up there with The Village Vanguard in New York City, as one of the most prestigious jazz venues in the country.
Several iterations of this album exist, including separate Volume 1 and Volume 2 original releases and later these were also combined on one reissue. There were also original releases in both mono and stereo. I only have the combined Volume 1 and Volume 2 stereo reissue for comparison. The IMPEX pressing is almost like a new recording. The IMPEX was remastered by Kevin Gray and pressed at RTI. The results are simply outstanding. The level of drive, transparency and overall excitement on this pressing is as good as it gets. This is one of my go to LPs for Miles at his very best! Highly recommended!
Carly Simon & Jac Holzman, These Are The Good Old Days (Rhino Records)
The inclusion of Jac Holzman in the title of this compilation is highly appropriate. Considered one of the most respected and influential icons of his era, Holzman has a long history of developing and helping to establish the success of many of our biggest stars from the 1960s and beyond. This includes The Doors, The Stooges, Queen, Tim Buckley, Harry Chapin and many more. As the founder and head of Elektra Records, when he met Carly Simon during that period, they soon became good friends and his guidance and support quickly took her career to a new level of success.
As curated and sequenced by Jac and Ted Olson, this two record set includes 20 tracks taken from Carly Simon's first three albums: Carly Simon (1971), Anticipation (1971), and No Secrets (1972). It also includes liner notes featuring detailed background information and memories from both Jac and Carly with some very loving and respectful comments about their long term friendship. The hits are all here, including "Anticipation," "That's the Way I've Always Heard It Should Be." "You're So Vain," and "These Are The Good All Days." They are also joined by an outtake covering John Prine's "Angel From Montgomery" and a previously unreleased demo for "Alone." Much more than just a pop singer, all of these tracks demonstrate how gifted Carly was as both a song writer and a story teller. There is a clear emotional connection that she brings to the listener as most of these tracks are taken from a very personal and introspective experience.
I don't have any of the three albums that these songs are taken from for comparison. However, you have to be impressed by the mastering provided by Bernie Grundman. Clear and precise from top to bottom, the arrangements are nicely laid out across a fairly deep soundstage with plenty of air and ambience around both instruments and vocals. Jump factor and speed are impressive. Though these tracks are obviously all from different sessions, Carly's voice is projected in a very natural and defined way throughout. The two LPs were both ruler flat and extremely quiet. All in all, an excellent compilation from a highly talented song writer and performer.
Joni Mitchell And The L.A. Express, Miles of Aisles (Rhino Records)
Many consider Miles of Aisles one of the finest live albums of all time. Is it Folk, or Pop, or Rock, or maybe a little sprinkle of Jazz? Hard to classify as this was taken from live concert recordings of Joni's first ever tour with a backup band. And this was not just any band! It was the Jazz Fusion band "LA Express," which included some of the finest musicians at that time: Tom Scott on woodwinds and harmonica, Robben Ford on electric guitar, Larry Nash on piano, Max Bennet on bass, and John Guerin on drums and percussion.
This 1974 tour was in support of her Court and Spark album, though it is also somewhat of a greatest hits package from her vast discography. It's hard not to notice a certain level of maturity and confidence in her performance. Her interaction with the audience is not only playful and responsive, but even her voice seemed to have reached a new level of power and solidity. This was no longer a young artist in a small café trying to get a sense of whether she and her material belonged. You can also tell who set the direction on stage, as Joni definitely took a leadership role. There is a respect and professionality that cuts both ways with the band, but the joy and energy is also laid to bare for all to see and experience.
My favorite tracks here are those with a full rainbow of arrangements and instrumentation. This band was exceptionally tight and the music really shines through with a bigger sound stage and the additional drama that a backup band can provide. Several tracks like "Big Yellow Taxi," "Free Man in Paris," and "You Turn Me On, I'm a Radio" profit greatly from this added dimension.
I have an original US and Japanese pressing, both released on the Asylum label in 1974. I always thought that there might still be more meat on the bones when it comes to the original master tapes. Remastered by Bernie Grundman, it is these very tracks on the new reissue that demonstrate why Bernie is still one of the best. Now we have all the proper separation and weight of a real live performance that was sorely missing. We go from a fairly flat wall of somewhat veiled sound, to a three dimensional soundstage with additional transparency that really helps the listener make a connection. If you are looking for the definitive pressing of this album or just a gateway to Joni Mitchell and her remarkable legacy, this is the one to get!
John Prine, John Prine (Analogue Productions - Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records, this 1971 self-titled debut album by John Prine is one of my all-time favorites from virtually any singer songwriter. As many may know, after serving in the army, one of John's early career choices was as a mailman in the Chicago suburb of Maywood back in the 1960's. I have to imagine that John dreamed up many of these songs as he marched along the sidewalks and back alleys of his route. "Illegal Smile," "Spanish Pipedream," "Hello In There," "Sam Stone" and "Angel From Montgomery" are all true classics. Many have been re-recorded and/or performed in concert by some of the biggest stars of today.
As myself a Chicago area native, its hard not to love and admire John's backstory and success, as I go way back to the very beginning and unfortunately to the very end. I saw him early on in several small Chicago cafes and beer joints, but also during his last tour in 2019 at the renowned Overton Hall in Madison, Wisconsin. Obviously in great pain from his fight with cancer, he was also in great spirits as he danced around the stage during the finale of the show. With a huge smile and a two-step strut, the audience went bananas as "Lake Marie" was never so wonderfully performed. That will be a very fond, yet a very sad memory that will always stay with me.
As part of the 75th Anniversary Series from Analogue Productions, this is a 45 RPM release on two discs. Pressed on 180 gram vinyl at Quality Record Pressings (QRP), it was mastered by Ryan K. Smith directly from the original master tapes. Packaging includes tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing. I was very excited when this reissue was announced, as I have several original and reissue pressings, but I was never happy about the noisy vinyl or the sound quality.
This reissue has exceeded all my expectations. The 45 RPM format has its advantages, but I must tip my hat to Chad Kassem, Ryan K. Smith, and QRP. As we all know, when it comes to sound quality, every detail matters. These folks have all really delivered on this reissue! John and band play before you in all their pride and glory. There is a life like presence and tangibility that I would have never guessed was on those tapes. This reissue is a great tribute to John. As before, I am confident that he is once again two-stepping up there with a huge smile and he is very very pleased!
