5 key Columbia albums from George Duke – presented here in these cool little LP-styled covers. 52 tracks in all.
The daughter of the late bluesman Johnny Copeland steps up to the plate with this, her debut album for the Alligator imprint. Although only 19 at the time of this recording, Copeland comes to this album with a mature style and vast amounts of assuredness. While comparisons to Koko Taylor and Etta James will be plentiful, Shemekia has enough tricks up her sleeve to make this a disc well worth checking out. Eight of the 14 tunes aboard are co-written by producer John Hahn and strong musical support is summoned up from guitarist Jimmy Vivino, with guest turns from Joe Louis Walker and "Monster" Mike Welch, while the Uptown Horns show up on three tunes, including the title track. Highlights are numerous on this disc, but special attention should be paid to Copeland's "Ghetto Child," a nice cover of Don Covay's "Have Mercy"; Walker's "Your Mama's Talking"; and the strutting "I Always Get My Man." This is one very impressive debut.
"Italian conductor and musicologist Alberto Zedda is widely recognized as one of the world's most prominent authorities on the operas of Gioachino Rossini. (…) Although his work on behalf of Rossini remains widely appreciated, Zedda's handling of early opera composers has drawn criticism, particularly as he eschews period instruments and prefers to devise modern orchestrations for seventeenth century operas.
The Epic is saxophonist Kamasi Washington's aptly titled, triple-length, 172-minute debut album for Brainfeeder. He is a veteran of L.A.'s music scene and has played with Gerald Wilson, Harvey Mason, Flying Lotus, and Kendrick Lamar (his horn is prominently featured on To Pimp a Butterfly), to name but a few. Most of his bandmates have played together since high school, and it shows. There are two drummers (including Ronald Bruner), two bassists (including Stephen "Thundercat" Bruner on electric), two keyboardists, trumpet, trombone, and vocals (Patrice Quinn). In various settings, they are supported by a string orchestra and full choir conducted by Miguel Atwood-Ferguson. Washington composed 13 of these 17 tunes; he also meticulously arranged and produced them. At just over six to nearly 15 minutes, the jams leave room for engaged improvisation. The Epic is based on a concept, though it's unnecessary to grasp in order to enjoy. The music reflects many inspirations – John Coltrane, Horace Tapscott's Pan-African People's Arkestra, Azar Lawrence's Prestige period, Donald Byrd's and Eddie Gale's jazz and choir explorations, Pharoah Sanders' pan global experiments, Afro-Latin jazz, spiritual soul, and DJ culture.