AUDIOPHILE AUDITION focuses on recordings of interest to audiophiles and collectors, with an accent on surround sound for music, and on all hi-res disc formats. Over 100SACD, DVD Video/Audio and standard CD reviews are published during each month, and our archives go back to January 2001.
Jeb Loy Nichols – Parish Bar – Compass Records 4497 150-gram vinyl LP, 41 minutes ****:
When I first dropped the needle to the record I thought I was going to start hearing the Bee Gees or Stevie Wonder, but then warm, thick vocals issued forth. Is it funk? Is it hip hop? Is it dance music? You can decide, but what I can tell you is that it’s got a 70s groove and a contemporary flair at the same time--and it’s pretty good! The second track had a world music/reggae feel except for the harmonica that popped out of nowhere. Jeb’s voice is a little like John Mayer and some of the tracks are like a John Mayer or Jack Johnson track with a bunch of different musical styles blended together all guided by Nichols’ vision. You get the feel that the entire creation process is very organic and natural for Jeb. This record is completely inoffensive and can easily serve as background music for a hip get-together or for a fun, light listening adventure.
The disc comes with a password to download mp3s of the album for free and you also get a piece of frameable artwork. Sound quality of the disc is A/A- and music gets a B+.
TrackList: Countrymusicdisco45; Whole Thing Going On; Just a Country Boy; I’m Blue I’m Lonesome Too; Days Are Mighty; Too Much Not Enough; Satan’s Helper; Foggy Road Ride; My kind; Neath the Cold Ground; So Sad; Dr. Noblio; I Took a Memory to Lunch.
Sonny Rollins – Saxophone Colossus – Prestige OJC 291 mono LP, 40 minutes ***** [Reissue from Concord Records]:
This copy was made from stampers originally cut for DCC by Steve Hoffman and Kevin Gray as evidenced by old matrix information that has been scratched out. The only better- sounding copy known to me are the originals cut by Rudy Van Gelder that are available used for upwards of $300. Three of the tracks are original, one a standard, the other the famous theme from Weill’s Three-Penny Opera. The back of the record gives added information on each of the songs and emphasizes the colossal nature of one of the few remaining jazz legends, Sonny Rollins. On this record he is joined by other jazz notables Tommy Flanagan (piano), Max Roach (drums), and Doug Watkins (bass).
I won’t review the music as you can find hundreds of reviews that better express the beauty of this record far better than I can. For music this record is a classic and therefore gets and A+. Sound quality falls somewhere in the A range. Tonal quality is excellent, dynamics are excellent, and that horn…An absolute must for even the newest of jazz neophytes!
TrackList: Moritat; Blue Seven; St. Thomas; You Don’t Know What Love Is; Strode Rode.
Smiley Lewis – …I Hear You Knocking – Pure Pleasure Records Limited PPAN LP9141 180 gram vinyl mono reissue LP, 30 minutes *****:
Personnel on this record are: Smiley Lewis (vocal, guitar), Dave Bartholemew (trumpet), Lee Allen, Herb Hardesty, Alvin “Red” Tyler (tenor saxophones), Clarence Ford (baritone saxophone), Salvador Doucette, Edward Frank, Joe Robichaux, Huey Smith (piano), Justin Adams, Edgar Blanchard, Ernest McLean (guitar), Frank Fields (bass), George French (bass guitar), Robert French, Earl Palmer, Charles “Hungry” Williams (drums).
Overton Lemon (Smiley) Lewis is a blues singer/guitar player who subscribes to the old school of blues and sings in a rough, ragged, hollering voice. He got his start early in clubs in the French Quarter and had his big hit in 1955 with “I Hear You Knocking” (later covered by Dave Edmunds). The piano playing and upbeat sound of this tune is what no doubt propelled it to the top of the charts. Most of the material on the record covers the typical man/woman topics present in a lot of the blues music and there are quite a few standout tracks. “Blue Monday” starts with solid, punchy bass and then comes the horns—wow! This number will appeal to less hardcore listeners of more popular blues music. “Lost Week End” is a perfect example of Lewis’ New Orleans influence while “Real Gone Lover” sounds very similar to “Shake, Rattle and Roll.” This is one great blues record!
This disc was remastered at Abbey Road Studios by Sean Magee. The recording is mono and some times it is hard to focus in on particular instruments within the soundstage due to the age of the recording. Sound ranged from B- to A- depending on the track while Music is a solid A.
TrackList: The Bells Are Ringing; Standing On The Corner; Blue Monday; Down The Road; Lost Week End; Real Gone Lover; Bumpity Bump; I Hear You Knocking; I Can’t Believe It; Hey Girl; One Night; Nothing But The Blues.
Above three reviews -- Brian Bloom
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