St. Paul & the Broken Bones, Greetings from St. Paul and the Broken Bones (2012, FLAC)

I was turned onto this small set of tunes by one of those Songs of the Day features that linked to a YouTube performance. Sufficient to say that I, like many others, was hooked. St. Paul (Janeway) initially comes across as a slightly geeky version of Drew Carey (the comedian). Once he opened his mouth, I kept wondering how such a character could belt out such soulful, vibrant tunes. No matter, St. Paul makes this band what it is, harking back to 70s soul and R&B while adding a contemporary touch of alternative rock.

Greetings… only has four tunes but with a nice variety from the lament of “Broken Bones and Pocket Change” and the slower tunings of “That Glow” to the faster pace of “Champagne Halloween.” It’s this last song that really gets me on my feet (and I never fail to hear a slight twinge of AC/DC's raspy vocals). While St. Paul takes primary billing the rest of the band are no slouches with a tight horn section and nice guitar and bass.

Needless to say this small dip into St. Paul has me looking for more. Fortunately, days ago they released a full album, Half the City, which contains two songs from Greetings… along with a host of new material. The bonus is that they’re coming to the DC area next month. Woo-hoo!!!

Eight nods of the head makes this topshelf material. (See http://stpaulandthebrokenbones.com/)

Rushing and Sinatra: Mr. Five by Five meets the Voice

Jimmy Rushing and His Orchestra, Little Jimmy Rushing and the Big Brass (1958, vinyl)

I’m more accustomed to Jimmy Rushing in smaller jazz combos, such as his collaboration with the David Brubeck Quartet. Then again, I missed out on Rushing’s connection to the Count Basie Orchestra so this helped open my ears.

While the smaller set-up lends an intimacy to his rich voice, he can be equally dynamic with a full band behind him. Also, for 1958 the recording isn’t half-bad as it gives a sense of space for the vocals. Entering into “I’m Coming Virginia” we get classic Jimmy. “Harvard Blues” sets the stage for a classic blues tune with a great tenor sax solo. On that note the combination of Buddy Tate and Coleman Hawkins on sax is a great complement throughout the album, particularly on the B side.

“Jimmy’s Blues” is another of my favorites although not exactly PC from a contemporary perspective but the trumpet solo by Emmett Berry and Dickie Wells’ trombone serve as counterpart to Rushing’s vocals. “Mr. Five by Five” is a fun self-commentary on Jimmy’s physique. In terms of arrangements, I personally think that “When You’re Smiling” has the best overall integration of the full band, particularly the opening horns, and Jimmy’s singing. The up-tempo of the song also provides a nice counterpoint to the bluesy character of the rest of the album.

Perfect for late night listening, this album gets 6 nods of the head.

Frank Sinatra, Greatest Hits, the Early Years, Vol.2 (1966, vinyl)

My first question was how many greatest hits albums does Sinatra have? Then on second glance, I notice that I hardly recognize any of the song titles compared to the set of Sinatra standards that are practically cliche in my mind (“My Way,” “That’s Life,” “I Get a Kick Out of You”). So this compilation of songs from 1943 to 1951 was fresh and new for me, which jogged me out of my preconceptions and had me listening once again. With the expansive sound and velvety vocals that just ooze into your brain, I can see why Sinatra is nicknamed “the Voice.”

Most of the songs on the album are ballads, which goes well with a late-night listening mood. I particularly loved the Italian verse on “I Have but One Heart.” “Time after Time” perhaps defines the silky smooth nature of the Voice, while “Couldn’t Sleep a Wink Last Night” comes in with a classical (and almost cheesy in retrospect) angelic female chorus. “Ol’ Man River” is another of my favorites as Sinatra really kicks in with the pipes near the close of the song.

While I won’t say that Sinatra will be in my regular rotation, this album has certainly given me a new appreciation of his ability and style. (5.5 stars)

Carole King, Music (1971, vinyl)

I’m working my way through my thrift shop find, and have hit upon the work of Carole King. Previously, I’d only known some of the more popular songs from Tapestry, so I was curious to see what else she’s produced. The recording of the album itself just sounds lush, particularly with the opening congas on “Brother, Brother.” 

This album has also opened my eyes to the instrumentation and arrangements behind King and her voice. In addition to the aforementioned congas and King’s grand piano (featured on the album cover), we’ve got an organ, acoustic bass, guitars, bongos, fleugel horn, sax, flute and woodwinds. Phew! It’s also neat to hear James Taylor contributing on “Song of Long Ago.” The closing song, "Back to California," is probably my top pick on the album with the electric piano and guitar solos, along with the backing drums.

Fans of vinyl often cite the tactile nature of the medium, and I have to say that King has some of my favorite album jackets. They are made with a thick matte paper that just feels high quality even three decades later. (6.5 stars)

Casals, Perlman & Williams: different strings

Pablo Casals, The Art of Pablo Casals (1964, vinyl)
While this is an older mono recording, the performance just mesmerized me. I’m by no means learned in classical music or strings, but I’ve become increasingly interested in the cello. Listening to this album (and virtuoso cello performances in general) just puts me in awe of the musical beauty that humans can create. I’m not really at a point where I can differentiate “songs” or the various merits across them in this genre, but for now it’s fine for me to simply appreciate. (6.5 stars)



Itzhak Perlman & John Williams, Paganini & Guiliani (1977, vinyl)
My daughter’s violin teacher frequently talks about Paganini, and I have this weird image of him as a classical Jimi Hendrix on the violin (yes, I know a weird set of associations particularly with regard to their playing styles). My other interest in picking this album of violin and guitar duos is a longer term dream in my head that I might actually play guitar accompanying my daughter (that said she’s light years beyond me as I just started taking lessons). Again, this was a fun listen by a classical neophyte, and I particularly enjoyed the more strident violin pieces. (6 stars)

Bobby Gentry & Patsy Cline: an evening of folk and country

Bobbie Gentry, Ode to Billy Joe (1967, vinyl)
Over the weekend, I had a nice little score of some classic folk and rock albums at the local thrift shop. I was most excited over this album by Bobbie Gentry as I’ve been fascinated with the title song (Ode to Billy Joe) ever since I heard the jazz rendition by Patricia Barber. I did get a collection of Bobby Gentry songs on CD but the sound and dynamics are rather anemic. While the sound of the album is a touch brittle, it was great to hear Bobby Gentry singing Ode and a range of other songs. I was also surprised at an underlying touch of funk which gives this country/folk album some additional pizzazz. (6.5 stars)

Patsy Cline, Country and Western Album w/ T. Texas Tyler et al. (1950s?, vinyl)
Honestly, I purchased this album just to listen to Walking after Midnight, which is probably a good thing as the B-side is a wreck and unplayable. This may be as far as I get into country, but Patsy holds a special charm over me and it’s fun to her some of her earlier stuff particularly the collaboration with other artists. (5 stars)