Survival Research レコード& CD

Review: The great jazz trumpeter Chet Baker recorded Broken Wing in Paris in December 1978 and despite what he was going through personally at the time, it remains a showcase of his undiminished talent. The album highlights exceptional chemistry between the main man and his ensemble which featured pianist Phil Markowitz, bassist Jean-Francois Jenny-Clark, and drummer Jeff Brillinger. They deliver remarkable renditions of Richie Beirach's title track, Wayne Shorter's 'Black Eyes,' and Baker's own 'Blue Gilles.' Baker shines on the trumpet and delivers a graceful vocal performance on 'Oh You Crazy Moon' making this rare but now reissued LP an essential addition to your collection.

Review: .Often considered to be one of the biggest commercial flops in music recording history, Standing In The Spotlight was the 1989 debut solo album from Ramones bassist Dee Dee Ramone. Released under his rap moniker Dee Dee King, the bizarre project served up an amalgam of old school hip-hop, late 50s garage rock and even doo-wop, all blended together in chaotic fashion, and led by Dee Dee's new gangster bravura. It's been noted that the hip-hop-centric attire seen on the cover was adorned by Dee Dee at his last few Ramones shows shortly before departing, which drew major ire from his bandmates. Tapping Marky Ramone to oversee percussion samples, and even enlisting Debbie Harry (Blondie) to provide backing vocals on 'Mashed Potato Time', and, 'German Kid', with the latter featuring vocals sung in both English and German (nodding to Dee Dee's growing up as an army brat), the album was crafted with every earnest intention of launching Dee Dee's solo career. Conceptually inspired whilst in rehab and used as a project of focus when embracing his newfound sobriety; the sheer enthusiasm and fearlessness of Standing In The Spotlight grants it a pass and a place as a truly absurd offshoot oddity from a vital member of the one of the defining punk bands.

Review: Much like his countryman Tim Maia, Brazilian samba king Jorge Ben loved to put out plenty of albums, and loved to name them all pretty much the same thing. This one though has its own unique name and a sound that is just as singular. It finds him bring his acid sounds to swaying and shuffling pervasive grooves with lush vocal harmonies, his own real braking ad libs and elements of Western sound from rock to soul. Originally released in 1978, it features onset about footballers, a girl's social climbing, love songs with flutes and plenty more.

Review: William Emanuel Huddleston is better known as Yusef Lateef. It is fair to say he remains a towering presence over 20th-century jazz with a vast discography, much of it packed with classics. Jazz Mood from back in 1957 is a really fine example of what he can do. It found the multi-instrumentalist reconfiguring jazz just as he came to prominence at the end of the 50s. Playing alongside him for this album are some of Detroit's finest such as Alice Coltrane's brother Ernest Farrow on bass, and Curtis Fuller who would later join Jazz Messengers, on trombone. Sumptuous stuff.