Reviews (1)

Atlantic Piano Blues Collection Has Its Highlights, But....
In his liner notes to this Atlantic Records piano blues anthology, "Living Blues" magazine editor Jim O'Neal writes that "The Atlantic team knew what they liked; they also knew what sold." It's instructive, then, that six songs from the original vinyl release -- two each by Little Brother Montgomery and Ray Charles, one each by Professor Longhair and Joe Turner -- remain off the CD reissue 11 years later. Musical archeology only sells so far.

This carelessness of sequencing (two songs each from Jimmy Yancey and Meade Lux Lewis would have made their cases) is part of why "Atlantic Blues Piano" is weakest among the label's four volume blues series despite some exceptional performances. You get some of blues' finest pianists and samples of native city styles (Chicago, Kansas City, New Orleans. But the artists are caught either pre-ascension (Charles on a 1953 audition tape of Lowell Fulsom's "Low Society," Amos Milburn quarterbacking Texas Johnny Brown's jumpin' "After Hours Blues" with a superb intro) or post-peak (Yancey, heard without "Mama," heard here two months before his death with a somber "Mournful Blues" and salute to fellow piano great Pinetop Perkins).

O'Neil acknowledges this in his liner notes. "Most of the pianists represented on this volume were already well-established recording artists by the time they went into the studio for Atlantic," he wrote."...their Atlantic sessions were in one way or another intended to recapture or restore past glory."

That said, enough excellent music remains on this collection to earn partial recommendation. The New Orleans piano style is well-represented by Longhair's signature song "Tiptina," while Longhair disciple Dr. John rocks on a too-funky "Junco Partner" from 1971's "Gumbo." Turner (with ace Kansas City pianist Pete Johnson) provides some classic early R&B with 1956's "Roll 'Em Pete" while Lewis (helped by a young John Scofield on guitar) gallops through "Fore Day Rider" and the ballad "My Chile."

"Atlantic Blues: Piano" is worthwhile for completists, but unfulfilling for casual listeners. Blues or R&B piano fans would do better reading the artist lineup, then finding a full album from that performer. ... Read more

Reviews (2)

Sweet & Soulful Blues/Jazz
These recordings are a nice combinations of blues and jazz. Charles Brown's vocals on this CD are very bluesy and mellow. It seems every single note he plays on the piano has a reason. Also the band on this CD seems to have complete control of each song. Everything seems to flow smoothly as they play from track to track. This CD has some of his finest works . Songs like I Stepped In Quicksand, I Cried Last Night, and Who Will Your Next Fool are some of his finest works. This CD confirms why he was recently inducted into the Rock-n-Roll Hall of Fame.If you are a listener or musician this CD should definitely be in your collection.

I was surprised at how good this album is.
I was saddened to read of Charles Brown's passing two weeks ago.

I grew up hearing Please Come Home For Christmas on the radio every December.

I saw CB at the New Orleans Jazz Festival in '91. I didn't really expect much, but he was the best act of the weekend!

So I bought this record, again not expecting much. It's good! ... Read more

Reviews (5)

Sappy 50's doo-wop, and album filler, NOT good music!
The artistic quality of these two albums are nil, NON-EXISTANT! This is commercial doo-wop inspired garbage. Album filler, at best. The 1st album consists of ballads with muzaky piano playing, that sounds too sickeningly easy listening(considering he was once a boogie woogie great in the 1940's). These albums sound like they were desperatley trying for a hit. The 1st albumn at least has several uptempo numbers taht might have been pretty cool, if they weren't weighed down by obviously white, non-swingign backup singers. The 2nd album is even worst, if that's possible, Joe sings some old gems but the arrangements are so corny and filled with a chior backing him up, that it sounds SO DATED! This is Ivory Joe's lowest point of his career, thsi is really bad, get some of his earlier stuff, but skip this depressign and EMBERESSING Atlantic sides.

A little something for everyone
With some effort, I acquired Ivory Joe Hunter/The Old and the New, mainly for one of my favorites: Since I Met You Baby. This tune came out when I was in seventh grade.

I got hooked in the mass market rock and roll music as it developed in the mid to late 1950s. So I have not really bonded with some of the more traditional blues songs on this CD. An even older generation can probably appreciate them more. But I am trying, by playing them over and over again, to develop a real appreciation.

Others that I can really go for include the more country type, such as A Tear Fell and Worried Mind.

It is said that Ivory Joe estimated that he wrote between 7 and 8 thousand songs in his lifetime. I have checked with other musicians as to whether this is really possible. To prove it, one of my friends then composed a basic blues tune on the spot. Maybe those songs weren't all fully developed and worth marketing. But he sure left us a lot that were recorded, for their own entertainment value and as influence on others.

Great songs - indifferent sound quality
Tell me you know of a more talented singer-songwriter and i'll suggest you have been drinking!

The album comprises R&B classics (No other version of 'Since I Met You Baby' comes anywhere close to the perfection of Joe's original) and classic ballads (I'll Take You Home again, Kathleen etc) and represents excellent value. The dissapointment for me is the mastering. Problem is, it will always come out second best to the likes of the ACE label.

Anyhow, let's place this artist where he deserves to be - At the top!

Ivory Joe Hunter/ Old and the New
My mother,Mary Edwards, wrote 2 of the songs on this album when I was a child. (I Could Fall In Love With You, and One More Memory). Ivory Joe was not only a great talent with a beautiful voice, but a wonderful man who cherished his friends. I called him Uncle Joe until his death and still miss him greatly. I can still see that big, leather house shoe hanging off the end of his foot,patting to the music as he sat at the piano. My father, Howard Edwards, played the guitar and we sang and had so much fun. Of course our little voices were pitiful, but Uncle Joe always told us we were great. I met a lot of famous people who came to his home in Monroe, Louisiana, where he lived for many years. We loved to watch him perform on the Ed Sullivan show. Now days when you say that kids ask "who was Ed Sullivan?" Boy do I feel old then. Well, there is no music today to rival that of the 50s. Ivory Joe was a great talent and even greater man. He is greatly missed.

Brittany Edwards

Monroe, La

Some Missing Gems
Chances are if you're like me and approaching the ..er - so-called Golden Years, you will recall doing the slow dance to the incomparable Ivory Joe Hunter's Since I Met You Baby in 1956. One of the most distinctive voices of that era, this gentle giant from Kirbyville, Texas became the first black artist to outsell the rushed-out white cover versions when his rendition - which he wrote as well - went to # 12 pop and # 1 R&B, out-distancing both Mindy Carson, who peaked at # 36, and Molly Bee who failed to dent the top 100. Also on this CD are 1955's It May Sound Silly, a # 14 R&B charter which was outsold by The McGuire Sisters' cover that peaked at # 11 pop, A Tear Fell which scored at # 15 R&B in 1956 but lost out to Teresa Brewer's pop release, which went to # 5, Empty Arms in 1957, a # 2 R&B/#43 pop ballad outsold again by Teresa Brewer who took it to # 13 pop, and Yes I Want You which, perhaps prophetically, made it to # 13 R&B - and # 94 pop - in 1958. He never again had a charted hit, and when he passed away on November 8, 1974 after a long bout with lung cancer, he did so broke. This despite having written over 2,500 songs, including the immortal I Almost Lost My Mind, a # 1 R&B hit for Ivory Joe for 24 straight weeks in 1950, and which Pat Boone took back to # 1 pop in 1956. In fact, between 1946 and 1950 Ivory Joe was a constant presence on the R&B charts, beginning with Blues At Sunrise with Johnny Moore's 3 Blazes. It's just too bad no one has yet gathered these hits together for the many fans who fondly remember this fine artist. ... Read more

Album Description

Includes Watson’s best mid-’50s recordings for Federal Records and early ‘60s sides for King. Also features one of the biggest hits of his career, the top 5 hit "Cuttin’ In" and the stratospheric instrumental "Space Guitar." As a bonus there is an earlier second take of "Space Guitar" that’s similar in structure but utterly different improvisationally. ... Read more

Reviews (1)

One of our greatest singers at the height of her powers
Big Mama Thornton boasted one of the most electrifying voices in the history of recorded music, and this CD is the perfect introduction. Hound Dog - The Peacock Recordings is cheaper easier to find, but this collection has seventeen of Hound Dog's eighteen tracks plus five more essential ones.

Tracks such as Hound Dog, I Ain't a Fool Either and I Smell a Rat show off Big Mama's marvelously fierce, attitudinal side. She was probably the one 50s singer as fiery as Howlin' Wolf, and her work predicts all of the "Angry Woman" singers of the past several decades. Nightmare and How Come reveal an aching vulnerability. I can't recommend this CD any higher. Big Mama deserves to be far better known than she is. ... Read more

Reviews (1)

Another Gem from Shorty
Guitar Shorty has once again put out a worthy release. Filled with humorous lyrics and tasty guitar playing, you can't go wrong here. His playing is very good - not too over the top, but not what you'd call restrained either. Although his voice is sometimes overlooked, it fits his music perfectly. Shorty's vocals are in fine form here -- powerful, smooth and with more than a touch of grit. It's a very good CD, but nothing can quite capture the power of his live show. If you have the opportunity, check him out. It's quite amazing to watch him cut loose on these tunes while standing on his head or flying through the air. The man is simply out of control!

Bottom line - buy the CD, but definitely catch him live if he comes near your town. ... Read more

Amazon.com

Throughout the history of jazz, mythical places like New Orleans's Storyville, Chicago's South Side, Kansas City's Tenderloin district, and New York's Harlem and 52nd Street were celebrated as the legendary hotspots. Thankfully, this impressive four-CD, 91-track collection featuring Nat "King" Cole, Louis Armstrong, and Benny Carter to name a few, puts Los Angeles's famous African-American enclave, Central Avenue, on the historical map and offers the listener a zoot-suited, jitterbugged jaunt through Club Alabam, The Downbeat, and other jumpin' joints where Hollywood stars rubbed shoulders with hep cats under a pulsating Pacific sky. The set covers an important period in the development of African-American music, from the conclusion of World War I to the birth of rock & roll: from the early New Orleans bouncy brass-band sounds of "Get Out of Here" by Kid Ory's Creole Jazz Band and the Spanish-tinged, habanera syncopation on "Mamanita," courtesy of the pioneering pianist/composer Jelly Roll Morton to Lionel Hampton's boogie-woogie anthem "Flying Home" and the killer keyboard calisthenics on Art Tatum's "Tiger Rag." The Charlie Parker Septet's "Ornithology" blew into town on the wings of bebop innovation and hypnotized local up-and-comers like bassist Charles Mingus--under the moniker of Baron Mingus & His Octet on a rare side called "Bedspread"--and tenor saxophonist Dexter Gordon's raw-boned tone on "Chromatic Aberration," which previewed John Coltrane's sheets of sound. Miles Davis's cool indigo-impressionism radiance on "Up in Dodo's Room," performed by the Howard McGhee Sextet, contrasts with the harmonic heights reached by the Gerald Wilson Orchestra's reading of "Groovin' High." There is a remarkable fluidity of transition from blues to R&B, as heard in the western wails on "Blues on Central Avenue" by Joe Turner with the Freddie Slack Trio, Nellie Lutcher's hip-bopping, tasty, and teasing "Fine Brown Frame" and the Texas-bred, guitar twang of T-Bone Walker's "Call It Stormy Monday," all of which highlight the sepia-toned, soulful syncretism that formed the bedrock of modern music and the marvelous black neighborhood that provided the foundation for it. --Eugene Holley Jr. ... Read more

Reviews (1)

Outstanding, historical jazz collection!
Central Avenue Sounds is more than a compendium of Los Angeles-based jazz from the 1920s-1960s. It's an historical documentation of an age and cultural environment that is sadly long gone and nearly forgotten. Although it stands on its own as an outstanding collection, buy this set with the book of the same title--"Central Avenue Sounds" edited by Clora Bryant (available here at Amazon)--for a multimedia journey back to a unique time and place. Highest recommendations! ... Read more

Amazon.com

Johnny Otis is best known for his 1956 rock & roll hit "Willie and the Hand Jive." But Otis--the son of Greek immigrants who chose to be personally and professionally identified as black--had enjoyed a successful career as a West Coast jazz drummer and R&B bandleader dating back to the mid-'40s. In 1950 alone, he scored three No. 1 R&B hits. This three-disc set collects all his recordings for Savoy between 1949 and 1952, as well as a handful of earlier sides, beginning with his 1945 version of "Harlem Nocturne." The set traces the evolution of Otis's style from big-band jazz toward earthier blues and R&B. "Little" Esther Phillips was featured on Otis's biggest hit, "Double Crossing Blues." Other lead singers in the ongoing Caravan (and on this collection) included Mel Waters (who recalls Charles Brown with a lighter vocal tone), the doo-wop group the Robins, and Linda Hopkins. Guitarist Pete Lewis, saxophonist Big Jay McNeely, and Otis himself on vibraphone are crucial instrumental contributors. Despite Rhythm and Blues Caravan's zoot-suit trappings, there is a dreamy innocence and humor to this music that's largely missing from contemporary R&B. There's also an endearing strangeness that served as a formative influence on the young Frank Zappa, among others. --Rick Mitchell ... Read more

Reviews (3)

Great Stuff - But...
If you like jump/R&B/jazz style, this is great stuff. BUT...
Before you buy this set, check out Midnight at the Barrelhouse on JSP. It has every cut on this set (except for Hunter Hancock's Theme) + a lot more cuts + the JSP set costs less.

This caravan is the real deal.
Over three hours of early R&B bliss. What can I say, if you like the style, this 3 CD set offers heaven! Over 3 hours and 77 songs of the hottest 40's 50's R&B scene. If you couldn't be at the Barrelhouse in Watts when it was happening , this set at least gives you a feel for what the music and players were like. I put this on and can listen all day/night long. It never grows tiring. Sexy solos, great riffs, hot rhythym, you name it, this set has it all.

Thanks to Atlantic/Savoy Jazz for this gift to music lovers everywhere.

Godfather Of Rhythm And Blues Indeed
Unlikely as it may seem at first blush, the son of Greek immigrants, who was born John Veliotes on December 28, 1921 in Vallejo, California, rose to become one of the most influential purveyors of R&B. And in this marvelous 3-CD set you get to see and hear why because, included with the hours of entertainment, are the fourteen hits he chalked up on the Savoy label between 1950 and 1952.

At the age of 25 he formed a 16-piece jazz-swing band and, after securing a recording contract with Excelsior, had a regional hit in 1946 with Harlem Nocturne [included in this set]. So well-received was it that it led to touring dates with the likes of The King Cole Trio, Louis Jordan, and The Ink Spots. He and his band would also contribute to jazz recordings by the great Lester Young, Jimmy Rushing, and Illinois Jacquet.

By 1948, however, he began to concentrate solely on the R&B sound, and in November of that year shared billing with Joe Swift on the # 10 R&B hit That's Your Last Boogie for the Exclusive label. Not in this set, it can be found on the CD "1948 R&B Hits" also offered by Amazon.com.

It was also around this time that, while performing at the famed Barrelhouse Club in L.A., he discovered a sparkling 13-year-old singer by the name of Esther Philips, and an all-male quartet calling themselves The Robins [who would later evolve into The Coasters]. After hooking up with Savoy/Regent in 1950 they soon scored with the # 1 R&B hit Double Crossing Blues, billed to The Johnny Otis Quintet The Robins and Little Esther.

A couple of months later, in April, Mistrustin' Blues rose to the same spot as by Little Esther with Mel Walker and The Johnny Otis Orchestra, while the flipside, Misery, made it to # 9 under the billing Little Esther with The Johnny Otis Orchestra. In the middle of its run, the associated Regent label released Cry Baby b/w I'm Not Falling In Love With You which, with vocals by Mel Walker & The Bluenotes, made it to # 6 in May.

The 1950 hits continued in June when Cupid's Boogie [or Cupid Boogie on some pressings] gave them yet another # 1 under the billing Johnny Otis Orchestra Little Esther and Mel Walker, followed that September by the # 4 Deceivin' Blues [b/w Lost Dream Blues] by Little Esther and Mel Walker with the Johnny Otis Orchestra. And, once again, the Regent subsidiary simultaneously released Dreamin' Blues by Mel Walker with The Johnny Otis Orchestra and watched as it climbed to # 8 at much the same time.

At around this stage Otis had hit upon the idea of a touring R&B review, and so was born the famous and innovative Johnny Otis R&B Caravan. Even so, the hit recordings continued and before 1950 went into the books he had another double-sided hit with Wedding Boogie/Far Away Blues [Xmas Blues]. The A-side, billed to The Johnny Otis Congregation: Little Esther, Mel Walker, Lee Graves, made it to # 6 in November, while the flip, as by The Johnny Otis Orchestra with Little Esther and Mel Walker, also settled at # 6 in early December. And, as the year ended, Rockin' Blues b/w My Heart Tells Me - by The Johnny Otis Orchestra with Mel Walker - was on its way to a # 2.

While 1951 wasn't nearly as prolific in terms of hit releases, Gee Baby [Mel Walker vocal] b/w Mambo Boogie made it to # 2 and 4 respectively in March/April, followed in September by All Nite Long b/w New Love. The A-side, with vocals by Johnny Otis and ensemble, peaked at # 6. The last Savoy hit then came in January 1952 when, under the billing Mel Walker with The Johnny Otis Orchestra, Sunset To Dawn made it to # 10 [the flip was Feel Like Cryin' Again].

That same year he switched to the Mercury label and by August had a # 4 with Call Operator 210 [Johnny Otis & His Orchestra featuring Mel Walker]. That can be found on the box-set The Mercury Blues 'N Rhythm Story also offered by Amazon.com.

He then became more involved with searching out new talent and backing them on some of their biggest hits. Such as Willie Mae "Big Mama" Thornton and her original Hound Dog on the Peacock label in 1953 on which he was billed as The Kansas City Bill Orchestra. He also is credited with discovering such giants as Jackie Wilson, Hank Ballard, and Little Willie John, and providing the music on legendary hits like Johnny Ace's Pledging My Love.

In the mid-Fifties, when R&B's off-spring Rock 'N Roll barged onto the scene, Otis returned to recording with Capitol where, under the billing The Johnny Otis Show, he turned out some of the best songs of the era, including Ma [He's Making Eyes At Me] with Marie Adams & The Three Tons Of Joy, Willie And The Hand Jive, Crazy Country Hop, Castin' My Spell, and Mumblin' Mosie [see the Capitol Collectors series also offered by Amazon.com for some of these].

In the Sixties Otis began concentrating more on producing and in 1968, with his son Shuggie, turned out the progressive LP Cold Shot, so well received that it led to a contract with Columbia/Epic/Kent and a # 29 R&B hit in 1969, Country Girl [available on the CD Johnny Otis Blues & Swing Vol. 1, also offered by Amazon.com]. In 1975 he then produced his son's lone hit, Inspiration Information, which peaked at # 56 R&B.

Equally proficient on drums, the piano, and vibes, Otis was inducted into the R&R Hall of Fame in 1994. Get this set and see and hear why. ... Read more

Amazon.com

Esther Phillips was 14 when she first began hitting the R&B charts; this collection of recordings for Lenox, Atlantic, and Roulette finds her trying to maintain her success in the face of changing trends. The stylistically diverse material and arrangements are held together by Phillips's powerful voice and vulnerably intuitive phrasing; among the highlights are smoky covers of Beatles and Stones ballads ("And I Love Him" and "As Tears Go By," respectively), remakes of Nashville hits ("Release Me," "Am I That Easy to Forget"), the sophisticated soul of "Some Things You Never Get Used To," and the jumping "Cry Me a River Blues," with Phillips free-associating verse after verse of the American songbook from Bessie Smith to Julie London. --Rickey Wright ... Read more

Reviews (7)

Fascinating Overview of an Aimless Period
Does it even the score if Atlantic was as misguided and directionless with the great Esther Phillips as Columbia was with Aretha Franklin?

The earliest work on here was recorded for independent label Lenox records under the tutelage of Kenny Rogers' brother Leland Rogers (later responsible for the 13th Floor Elevators!). This material is an excellent mix of country/soul in the style popularized by Ray Charles. If, like me, the only version of "Release Me" you have ever heard is the sappy Engelbert Humperdinck take, Esther's offering will be a revelation. Not even the terminally square Anita Kerr Singers in the background can damage this fantastic performance. However, once Atlantic got its mitts on Ms. Phillips she was put to work on lounge/supper club things with overblown showbiz backings. She's good at this material, but this is unquestionably NOT what Esther Phillips is all about. While the person writing the annotations seems to think that she transformed Lennon/MacCartney's "And I Love Him" and Jagger/Richards' "As Tears Go By," her versions sound very ill at ease. They make me want to go back and listen to "Release Me" again.

Things improve dramatically with the second disc. There's a smoking sex-changed version of Percy Sledge's signature song ("When a Woman Loves a Man"), a set of timeless live cuts that finally unleash all the blues in Esther's voice, and a perfect update on the country/soul approach with Bob Dylan's "Tonight, I'll Be Staying Here With You." Ah, but by the time of this last track, Esther had moved to Roulette Records and been reunited with Lelan Rogers who obviously had not forgotten how to produce her. Along the way, Esther places her inimitable stamp on "Moody's Mood for Love" and a string of really decent late 1960's/early 1970's singles. After hearing this occasionally bewildering collection, you have to marvel at how well her musical career was taken in hand by Creed Taylor in the 1970s.

The annotations are great and include some very funny stories about the woman. The sound quality is up to Rhino's usual excellent standard.

In response to music fan from LA
The title of the song you're looking for is "Home is where the Hatred Is". This song was originally done by Gil Scott Heron, but Esther's version is more powerful.

esther phillips
i'm really looking for the title of one of esther's songs..the only words i can think of in the beginning of it is "junky walking through the midnight" but i don't know the title can some please help? thank you..

What a discovery!!!!!!!!!!!!!!
Thanks to amazon.com I had ordered this beautiful CD thinking its just another obcure diva, but I can't stop playing it again and again, since this is realy awesome collection.She is like a little crazy sister of Dinah Washington, Nina Simone and Carmen McRae, possesed very strong, recognisable voice and a style that could be emoployed in very various musical settings.It is little painfull to listen how desperately her producers wanted to find right direction for her, because she was such a talent that couldn't be put in one category.I love her early country recordings and I think she was really great doing just that.But than comes the blues.And then disco.If she is still alive, who know what she could be up to?

It doesn't get any better
Esther Phillips was one of the greatest vocalists that comes once in a lifetime. During her lifetime she was underated and unappreciated, hopefully this CD will give her the respect she deserves. ... Read more

Reviews (1)

This CD is Excellent!
I have listened to blues music for a long time and the Ford's music for about the past 12 years. I find this CD of theirs a wonderful listening experience. By adding horns to their basic 4/5 piece blues band, it improved my appreciation of their music greatly.

As usual, the entire band is excellent, but, of special note, Andy Just's vocals and harmonica work is outstanding (and I don't like much harmonica in bands!) and Volker Striffler's guitar work is just plain scorching...whew!

There are not many CDs in my large collection that I like every cut, however, this does come close. The only cuts I find myself skipping over are One Man's Opinion (Patrick Ford..I think...talking while the band is playing...sorry...I prefer singing!) and Be Careful What You Wish For. Otherwise, everything is excellent.

Great Job, Guys! ... Read more

Reviews (1)

THE BEST BLACK METAL RELEASE EVAR!!!!!
MAN THIS IS THEIR BEST RELEASE SINCE DEATHCRUSH!!! I DON'T REMEMBER THEIR SKIN BEING AS DARK THO! ... Read more

Reviews (1)

Not Bad.
This is early Rod Piazza. He was young and full of energy. Here on this live set we see him burn through plenty of tracks a la Paul Butterfield. Although many people get tired of that kind of blues, you can't go wrong. It will always sound good. Rod also has a good band playing with him. One of whom is Larry Taylor on bass who played with John Mayall on the "Jazz Blues Fusion" and "USA Union" albums. If you are a true Piazza fan then you don't need convincing and if you want a good solid blues harp album, pick this up, it is tough stuff. ... Read more

Reviews (4)

HIDDEN WITHIN!!!!!!!!!!!!!!!!!!!
Flora had her vocals all OVER George Duke's albums on MPS during
the mid 70's-(Feel,I Love The Blues....etc-none of whitch are
in print as of now.But George Returns the favor here with a series of funkified latin jazz cuts differing little from his own work.The mammoth tital cut,the funky "Look Into Her Eyes"
are highlites but it is the SUPERGROOVALISTIC "Hidden Within"
that sets the standard for the groove matched only by Chaka Khan and a few others.What else is here is excellent but cannot compete with those heavyweights.But thats just because the album
is great and those cuts are TRANSCENDANT!!!!!!George and Florworked miracles on this and 1979's "Carry on" LP!

Flora & Friends...
This Fusion gem puts one of the most underated vocalist together with a few 70's fusion heavyweights and out comes a very enjoyable recording. George Duke, Alphonso Johnson, Airto and friends put out some of the hippest fusion in the 70' & 80's. Flora uses their musical abilities to the max on "That's What She Said." Using a variety of wordless vocal technics layered over electric keyboards and driving rhythms, these songs capture the fun and freedom that fusion later lost as it grew more commercial. Flora's entire catalog is ripe with music like this. If this grabs your taste-buds, also check out "Open Your Eyes, You Can Fly", "Encounter", and "Stories To Tell." Maybe we will all get luckly and Warner Brothers will release "Nothing Will Be As It Was" and "Everyday, Everynight". Also, Chick Corea's "Return To Forever" and "Light As A Feather" started the whole fusion-Jazz-worldbeat vibe. Enjoy!

70s Jazz Fusion at its finest!
This George Duke produced gem was part of a defining era for me in the late 70s. One of Flora's best works of the period, that mixes well with George Duke's "Reach For It", "Follow The Rainbow"; Chick Corea's "Friends"; and a host of other funk filled Jazz Fusioneers! This is a great addition to my remastered CD collection of this, "...the best of times" (wink), era of my experience.

70s Jazz Fusion at its finest!
This George Duke arranged gem was part of a defining era for me in the late 70s. One of Flora's best works of the period, that mixes well with George Duke's "Reach For It", "Follow The Rainbow"; Chick Corea's "Friends"; and a host of other funk filled Jazz Fusioneers! This is a great addition to my remastered CD collection of this, "...the best of times" (wink), era of my experience. ... Read more

Reviews (1)

Pure, Intimate, Gentle, Subtle in Every Way
This is by far my most-favorite Charles Brown album. The playing on this album is so pure, intimate and subtle that you simply cannot deny its deep, but very gentle impact. Charles' singing invites to careful listening and his singing and the band's playing will put you at ease, since they take their time to fully explore all the subtle finesses that can be hidden in one song. The music on this album is not about catchy licks, but it is all about ensemble playing at the highest level. Much credit goes to Danny Caron the guitar player and musical director of the Charles Brown band. If it was not for him than we would probably never have heard of Charles Brown anymore before Charles' departure. So we are very lucky that we can still share this beautiful music with the rest of the world. ... Read more