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In 1976, bassist Charlie Haden recorded eight duets with musicians whom he admired; the results were originally released on two Horizon LPs as Closeness. In 1988, A&M reissued all of the music on a pair of CDs, titled "Closeness" Duets. For this release, Haden is teamed with pianist Keith Jarrett, plays a memorable "O.C." with altoist Ornette Coleman, interprets a moody piece with harpist Alice Coltrane, and performs the highly political "For a Free Portugal" (which also utilizes excerpts from a record of Angolan music) with percussionist Paul Motian. Recommended, particularly due to the Ornette andJarrett collaborations. AMG.
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For this album only, David Blue reverted to his name, David Cohen. By this time, impressively, the overtBob Dylan-isms of his 1966 debut had faded far enough that most listeners would not automatically peg him as a Dylan imitator anymore. It's a little Dylan-esque, certainly, but not more so than several other singer/songwriters of the period. More specifically, his voice was coming more into his own personality as a low-key country-rocker who was able to keep in tune much more than he had as a Dylan clone. Recorded in Nashville, as was fashionable among folk-rock singer/songwriters in the late '60s and early '70s, it's a low-key but pleasant record, coming as close to Townes Van Zandt as Bob Dylan. There are sturdy, somber story songs like "Atlanta Farewell"; breezy, poetic romantic ones like "Turning Towards You," which has an almost jazzy, breezy feel at points; and an occasional Tex-Mex border mood (as there had been on 1968's These 23 Days in September), which comes particularly to the fore on "He Holds the Wings She Wore" and "Better off Free." Certainly the most ambitious track is "Sara," which mixes Leonard Cohen-style spoken poetry with Mexican-influenced barroom lament. It might be a minor 1970 singer/songwriter/folk-rock album, but as such albums go, it's one of the better ones. AMG.
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Spirit in the Dark was one of Aretha Franklin's more overlooked albums from her Atlantic prime, despite the inclusion of a couple hit singles (the title track and "Don't Play That Song"). The disc includes five of her own compositions (the most she ever recorded for a single album) and her usual eclectic choice of cover material. On this record, the covers ranged from B.B. King and Dr. John to Jimmy Reed andGoffin/King's "Oh Not My Baby." The album also benefits from great backup players: Both the Muscle Shoals rhythm section and the Dixie Flyers contributed to the sessions, and Duane Allman lends his guitar to a couple of tracks. Though it doesn't rank with her very best Atlantic LPs, it's an exuberant and remarkably consistent effort. The 1993 CD reissue has detailed liner notes on the songs and sessions byDavid Nathan. AMG.
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The second album from this British jazz-rock quintet rocks harder than their first outing. Their take onJack Bruce's "Rope Ladder to the Moon" is especially strong, and "Jumping off the Sun" has a similar feel. "Bolero" has been done to death, but guitarist Dave Clempson (who later replaced Peter Frampton inHumble Pie) uses it to launch a showcase of guitar fireworks. In fact, Clempson's blazing guitar licks shine throughout. Dick Heckstall-Smith once again impresses on his arsenal of saxophones and woodwinds, and the seven-and-a-half minute title cut which he co-wrote with drummer Jon Hiseman is a highlight of this disc. AMG.
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While he was one of the leading lights of the Southern soul scene of the 1960's, Joe Tex never made a secret of his fondness for country music, and on his 1966 set The New Boss, Tex allowed his C&W influences to shine more brightly than usual, covering Roger Miller's "King Of The Road" and Bobby Bare's "Detroit City" in a style that was faithful to the sound and feel of the originals while adding a soulful edge all his own to the tunes. And while that was the end of the C&W covers on The New Boss, they also fit right in alongside the very Southern preachments of "A Woman (Can Change A Man)" and "Don't Make Your Children Pay", though "C.C. Rider", "Stop, Look and Listen" and "What In The World" are also on hand for those looking for more dance friendly fare. As usual, Tex's warm and incisive vocals cut to the emotional core of these songs in a way that's honest, human and thoroughly compelling, and the production, subtle and supportive without being intrusive, is just what the material called for. At eleven tracks, The New Boss is a bit light in the value-for-money department, but Joe Tex's performances insure that what's here is choice. AMG.
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