The legendary jam sessions on the New York’s sanctuary of the Be-Bop. Personnel includes: Thelonious Monk (piano); Joe Guy, Roy Eldridge, Oran "Hot Lips" Page (trumpet); Charlie Christian (guitar); Nick Fenton (bass); Kenny Clarke (drums).
Within 20km of the Fukushima Daiichi Nuclear Power Plant - site of the 2011 nuclear disaster - is the town of Naraha. The train line that passes through the town was closed after the disaster, but was reopened in June. Although residents are not legally allowed to stay in Naraha, a variety of people come and go from the town's Tatsuta Station. The program captures these visitors - who include residents making short visits, staff at the nearby Fukushima Daini Nuclear Power Plant, and travelers coming for their own reasons - over 3 days.
First, don't assume you have this recording even if you do. For these many years I was satisfied that I was in possession of Sarah's admired "After Hours" session, only to be shaken (just a little) by the discovery that the song list on this new Mercury (now Verve) reissue didn't agree with the one on my LP. Turns out Sarah recorded two albums entitled "After Hours"–and mine was the "other" one, the one on Roulette. Rate this Mercury session as the slightly better bet, if only because of the presence of Thad Jones and Frank Wess. ~ Amazon Customer's Review
This is not exactly the Mario Lanza "best-of" album its title might imply; it consists of recordings made during the last 18 months of the great crossover tenor's life, when he was beginning to suffer serious effects from the health problems that killed him in the fall of 1959. Still, it's hard to hear much of an effect from those problems a diminution of sheer vocal power in the selections from Rudolf Friml's musical The Vagabond King that make up the second half of the disc, perhaps, but no loss of the singer's broad, generous lyric impulse.
Recorded on May 21, 1970, at Detroit's Club Mozambique, this was shelved and remained unreleased until it was retrieved for CD issue in 1995. It's odd that Blue Note decided to sit on it for so long, because it ranks as one of Lonnie's better sets. The band, featuring George Benson on guitar, is relaxed and funky without being in your face about it, and unlike much soul-jazz of the time, most of the material is original, Smith having penned six of the eight numbers. Although the riffs often owe a lot to James Brown, this is definitely at least as much jazz as soul, with Lonnie taking a rare vocal turn on "Peace of Mind."