Sonic treats, leftover after Halloween:
Hank Garland - Jazz Winds From A New Direction [Introducing The Modern Guitar Of] (Columbia [mono], 1961) Nashville C&W studio legend goes to swingsville, with Gary Burton on vibes, Joe Benjamin on bass, and Joe Morello on drums. I wish all of you could hear this record: not, I suppose, the type of sound that's considered accurately realistic today, but talk about your ear-candy - this toothache-sweet aural truffle practically sounds like it was recorded in a bonbon factory! Turn up this hugely atmospheric confection and instantly transform any system into big'ol corner horns powered by vintage zero-feedback SET tubes - lucsious and exciting are two words that come to mind. And that describes the music as well, which never sacrifices inventive arrangements or genuinely soulful artistry in getting its hot-licks thrills; my only complaint is that it's too short! Snap this one up if ever you come across a copy. (Cover photo is also tres cool for those into Gibson archtops - not to mention MG drop-tops.)
The Jacques Loussier Trio with the Royal Philharmonic Orchestra - Bach: Brandenburg Concerto #5/Air On The G String/Prelude #2 In C Minor (London Phase 4 Stereo, 1969) Maybe the most successful combination of the trends of piano trios playing jazz arrangements of Bach plus small jazz groups fronting symphony orchestras? Or maybe just the only attempt at it? Whatever, this really works, being at least as good as the earlier Loussier Trio 'Play Bach' series. Somewhat unbelievably, the orchestra and group never step on each other's toes, and swing hard together right through some very complex arrangements. The alternately jazzy and bluesy cadenzas integrate perfectly with the orchestral movements, tying together time signature changes with a lot of dynamic variety and structural interest. The balances are about ideal, the strings and woodwinds sounding lush and spacious while the trio is satisfyingly present and yet part of the whole. The overt sound of the record is quite pleasing like most Phase 4's, yet even though my copy is pristine, there perhaps seems to be something a slight touch 'off' about it in a 'modulated' sort of way, as if possibly there may have been a subliminal-level tape-flutter, disk-cutting, or amplifier power-supply breakthrough problem in the mastering chain, but not enough to preclude listening enjoyment, or for me to even really be sure of for that matter.
