Five songs to lift your holiday spirits

It is that time of year. The exit ramps are backed up for miles. The malls look like a mom mosh pit for soccer moms. Prayers are sent to the heavens that UPS delivers that special something to that special someone on time. Not only on time but prayers that it is not shattered into a million pieces. It is that time of year that we give thanks to the three wise men of Jim, Johnny, and Jack. Thanks that we made it through a week or two with the family. Yes, Christmas is here. The time of year we lost that age old meaning and replaced it with the advertising of the American dream. More, more, and more.

With Christmas upon us now is the time that we dive into the stacks of CD's, downloads, and records. Time to find a few songs that not only deliver the spirit of Christmas, but to bring back the smiles of all the hipster girls and boys. Everyone loves a list. Compiled is one that gives the listener a replication of the true message of Christmas. Some songs have been dusted off, some have come from the mothership, and others provide a helping hand though the spirit of this recession era Christmas.

Without further ado: The record crate brings you five Christmas song that are a bit off grid, and a little more listenable than the barking dogs.

King Diamond “No Presents for Christmas”

With his operatic voice that has been hand selected by Satan himself, King Diamond created a classic. A present from the dark lord given to us by the ghosts of Christmas. “No Presents for Christmas” is a metal masterpiece. Complete with cartoon favorites (Tom, Jerry, and Donald Duck,) saintly gatekeepers (Saint Peter,) and the ho, ho, ho-ly one; Santa Claus. Light your candles, layout the pentagram on the floor, and have a truly metal Christmas.

Wild Man Fischer “I'm a Christmas Tree”

With a level of technicality, this is a song. It contains notes. It contains a melody. For some, it is soothing to the ear. To others, they may want to gouge their eardrums with a red hot poker. Before Wesley Willis there was Wild Man Fischer. A discovery of Frank Zappa with a bent on releasing his demons into the eardrums of the unsuspecting. This grand ode to the Christmas tree, with a flattering second part harmony by the one and only Dr. Demento. This a tribute not only to the beauty that comes from a pine forest propped in the corner of ones home, with the distinct chance that a fire may occur due to faulty wiring, but also the Jewish equivalent; the Chanukah bush. A classic toe tapper for the holiday tradition of decorating the tree.

Bootsy Collins “Winterfunkyland (Winter Wonderland)”

The mothership has touched down and it is about to get funky all over your face. The supreme bass god of funk, Bootsy Collins, gives us a traditional Christmas classic the only way he can. With a pedigree that includes stints with James Browns and having piloted the Mothership on a few missions with the P-Funk. Bootsy pulls out all the stops with a rendition that will get your groove on and take you to outer space. Bootsy and his group of merry minstrels gives up the funk and gets our hips shaking. So lets get groovy baby!!!

MU330 “Angels We Have Heard on High”

These self proclaimed Ska-Bastards have not one or two Christmas songs, but an entire albums worth; “Winter Wonderland!” This St. Louis combo of ska-punk misfits give us the traditional “Angels We Have Heard on High.” A study of Ramones rhythms and horns that makes anyone want to skank around the Christmas Tree. Not only will you want to oi! to the world, but this punk and ska influenced version is a great soundtrack to any misspent Christmas joy.

Brave Combo “God Rest Ye Merry Gentlemen”

Hailing somewhere in the heart of Texas this group of polka punks have been taking everything (and anything) that is known about music, turning it on it's ears, and giving back to the world. Creating a sound that will make you want to drink with a stein of beer in one hand and then samba into the wee small hours of the morning. This group of musical explorers are know as much for their polkas as their take on holiday classics. Even writing songs for holidays that have yet a tune. This take of “God Rest Ye Merry Gentlemen” is taken from the ancient caroling choirs knocking around the neighbor. Turning it into a tune that will make you twist the night away. Two minutes of holiday bliss with a classic twist sound that would make Chubby Checker proud this time of year.

These five songs should help anyone get back into the spirit of Christmas. A spirit that can get lost as you try to navigate the brigade of moms through the malls. Finding joy while you are trapped in wasteland of cars stuck in gridlock that is every major intersection within a two mile radius of a Wal-Mart. A happiness that is found while being rescued from the family by one of the three wise men. These songs will make you groove, skank, twist, hold up the metal horns, or just drive your neighbors crazy. It is that time of year and it is time to get your jolly on.

Moving Forward: Bulletpop, The Glass Calvary, and Logos at Plush

The golden haze glow of St. Louis loomed from the large warehouse windows above the stage at Plush. This haze set the tone for a night that was filled with great music. More that just great music, great Rock and Roll. St. Louis is a city that seems to be founded on great rock acts and this night was no different. It was not the the same music that blares from bland AOR stations. The days of Styx, R.E.O. Speedwagon, and Ted Nugent has long been past, but not been forgotten. The groundwork has been laid out by the countless radio standards. Those radio standards have informed a whole new generation of musicians and fans. The evidence was in the sounds of Bulletpop, The Glass Calvary, and Logos. Each band handling a new take on what Rock music is suppose to be. Sounds that resonate progressive rock, early '90's college radio, and a culmination of whatever that has been laying scattered in the remains of rock radio. These bands reached back and grabbed the essence of what makes classic rock stand the test of time and transposed it for a new generation. Their generation.

As the clock counted down the minutes until showtime, Bulletpop took the stage. They brought a dose of swirling 90's guitar work that would make Thurston Moore proud. A rhythm section that plodded along and gave the awkward guitar lines a place. This gave way for the front woman to pose, shift, and dance. A sight reminiscent of a grunge cheerleader. A sass that came with a bite and a shot of venom. Bulletpop could easily be marked as a throwback to the '90's. A sound easily defined by past punk aesthetic and experimental guitar sounds that seem to be influenced by the underground bands of the 80's.

To hear The Glass Calvary is like listening to the combination everything that is great about alternative and hard rock, mixed with a healthy dose of metal. In a way, the music is more like listening to an indie prog-rock band rather than Mastodon. A band trying to have sport prog-rock cred disguised under a heavy metal banner. What makes The Glass Calvary different is that they are not fearful of their influences. They take from whoever and whatever that has been bouncing around in their collective minds. Turning those bits and pieces into a fully formed set of songs. They are a band that at moments have recognizable stylings of Iron Maiden. Vocals tings that hint at the ghost Colin Meloy. Vocal aerobatics between male and female. To the full tilt of sounds of commercial indie and alternative music. The Glass Calvary is a band not afraid of the twists and turns that makes music exciting. They put in a performance packed with energy, fun, musicianship, and an attention to song craft.

Ending the night was Logos. Another band unafraid of their influences. From the beginning notes of Queen's “Tie Your Mother Down” the audience knew they were going to see a band that takes great pride in their roots. It is not a stretch to say that the biggest influence on Logos is Rush. It is evident (aside from the fact that they are a three piece) in the their ability to take on large rock riffs and complicate them in a manner which makes the listening experience exciting. What separates Logos from other bands that have a singular influence is that they are not afraid to expand in their songwriting. Instead of trying to weave odd time signatures with futuristic tales, they make music that has an immediacy. They are not trying to write the same chords that is heard on modern rock radio, it is a part of who they are. Creating melodies that are of the moment with a reverence towards the music of the past. The same music that is played every hour on the hour. Logos is an extension of the past and present. This night at Plush happened to coincide with Cullen O'Donnell's birthday. In celebration the night ended with both The Glass Calvary and Logos teaming up on stage for a spirited run through of The Beatles “While My Guitar Gently Weeps.”

From the backdrop of the city's golden haze, the tone had been set and music had been played. Plush came alive with three band. Bands that brought a unique take on music. A take that is as much an influence as an inspiration. A direction that seemed to signify a future for rock music. The genre itself has a tendency to become stale and the radio domination is played out by bands who create sounds of convenience rather than exploration. Bulletpop, The Glass Calvary, and Logos are a few St. Louis bands that have not given up and are pushing rock music forward. In a town that seems to be splintered into different segments, it is good to see bands that are about pushing past the boundaries. Boundaries that many musicians find themselves comfortable in. There is a natural state that these bands present. On-stage they were themselves, acknowledging their influences, and moving forward.

Photos by Colin E Suchland. Thanks bro!

When Memphis invades London: "The Stax/Volt Revue, Volume One: Live in London"

It's a dirty, nasty deep fried plate of soul. Once Booker T. Jones' fingers hit the keys of his overdriven B-3 with the opening, and appropriate, song “Green Onions” it is evident that these performances are special. This is heightened by the lead in from drummer Al Jackson Jr who propels the band to take off like a rocket ship. A ride held together by Donald “Duck” Dunn on bass and the riffs of Steve “The Colonel” Cropper. This is the true sound of the dirty south. A sound that can only come off the streets of Memphis and delivered live to a crowd wanting more. The album is a sonic invasion that hit the streets of swinging London with raw sexuality and swagger. A backing band (Booker T and the MG's and the Mar-Keys providing horns) that is a force to be reckoned with. Songs that have stood the test of time and vocal performances from the royalty of Memphis Soul. “The Stax/Volt Revue, Volume One: Live in London” is not just a live album but the embodiment of the Stax/Volt sound.

Each of the performances are amazing and each of the performers are legends. The soaring horns of the Mar-Keys. The southern roots of Eddie Floyd. The always great and incendiary Otis Redding. The sexy and sultry Carla Thomas. The double dynamite power house that is Sam & Dave. The artists that appears on this album is a who's who of Memphis Soul. It is a power, fury, and sexuality that is lacking today in what is called RnB, Neo-Soul, or Soul music. These are singers, songwriters, and musicians that are at the top of their game. Bound and determined to give the country that brought us the Beatles a true lesson in what showmanship, songwriting, and performance is all about. An excitement and gut instinct over technical proficiency which has become common place in music.

“The Stax/Volt Revue, Volume One: Live in London” is composed of explosive performances that leaves the listeners on the edges of their seats. You can feel, and hear, excitement in each track. From The Mar-Keys blasting out “Philly Dog,” Eddie Floyd's blistering version of “Knock on Wood,” Carla Thomas making the Beatles classic “Yesterday” into a sultry soul serenade, Sam & Dave powering their way through “I Take What I Want,” and Otis Redding stepping it up with his version of Sam Cooke's “Shake.”

Listening, you can hear Booker T. and the MG's powering their way through each song. A freight train barreling down the tracks as if their lives depend on it. Even in the most delicate of songs, “When Something is Wrong with My Baby” (Sam & Dave) and “Yesterday” (Carla Thomas,) there is a power only matched by the singers themselves. In some cases, outmatched.

This album is a juggernaut of soul. Played how it should be; with style, finesse, and a shoot from the hip attitude making the music live, breath, dance, and remain alive. This is the sound of these performers doing what they do best: making music that makes you move. There is a raw sexuality present in each performance. It is one thing to have an air of sexuality but it is another to pull it off on album, a live album none-the-less.

“The Stax/Volt Revue, Volume One: Live in London” is the sound of Southern Soul. Dirty and Nasty. It is everything that one envisions of the music that comes from Memphis. It is soul food in the form of sound. Those in attendance on those London nights in March were lucky to witness Booker T. and the MG's, The Mar-Keys, Eddie Floyd, Otis Redding, Carla Thomas, and Sam & Dave in their prime. We are lucky that this is documented and we can experience the excitement briefly. At least for the 40 minutes that this music invades our ears and moves our soul.

This album is a testament to everything that is great about the Stax/Volt sound. A sound Motown was afraid to explore. The stripped down sound that allows the true essence of music to come through. It is time to hear this testimonial. Turn this up. Let the music that comes from your speakers,or headphones, move your body.

The sounds of Tomorrow as of now: Slow Six "Tomorrow Becomes You"

The easiest way to describe any artist is to make some connection to sounds that has come before. Most of the time a reviewer is trying to connect with an audience by naming possible influences or creating a new sub-genre. Doing this with the music of Slow Six, a quintet led by Christopher Tignor, would diminish the music written and performed on “Tomorrow Becomes You.” There is more to the music that cannot be described by dropping the names of leading modern classical composers like Steve Reich or Philip Glass, Kraut-rock bands such as Can or NEU!, equating them with Prog-rock outfits such as King Crimson, or lumping them into the category of classical crossover. The music that emanates from the speakers on the latest album is so much more. It is not about what has come before, but what is happening in the present. The music that lifts out of the grooves on “Tomorrow Becomes You” is the redefinition of classical music. Not only rewriting the perceived notion of classical music, but reinventing the sound of the chamber quintet.

This lineup on “Tomorrow Becomes You” includes composer, mastermind, violinist, and producer Christopher Tignor; drummer Theo Metz pounding out rhythms that are common place in Led Zeppelin albums than classical, second violinist Ben Lively, Rob Collins on Fender Rhodes, and finally guitarist Stephen Griesgraber. These musicians make the music come alive and breath an atmosphere that is unique unto itself. Compositions structured in a manner that gives the listener room to experience human emotion. An ebb and flow that occurs more in the form of classical suites than what happens in the realm of rock music. Much like any great music it exists outside the realms of any particular genre. Sampling the best and giving it to the listener in a package that they can comprehend.

This is what makes the music on “Tomorrow Becomes You” so appealing. It is recognizable to an ear that cannot tell the difference between Beethoven's “String Quartet No. 14 in C# minor” or Mozart's “String Quartet No. 19 in C Major.” Slow Six utilizes the voices commonly associated with a “classic” rock band setting (drums, electric guitar, and electric keyboard;) albeit without the addition a traditional bassist (bowed, plucked, or electric.) The compositions are written and executed so that the mind recognizes them as a rock song rather than a classical piece. This give the heart the ability to understand the emotional content with greater ease.

The songs take on the mood that can only be reflected as the emotions we feel. There are no words to distract from the sounds that emanate from each instrument. This is so the sound and composition can connect on a deeper level. The music is the story of love and love lost. Reflected in the titles and pronounced to understand the human condition. There is mourning and anger that is expressed in the writing and playing of each of these songs. It is like opening a box to who we are and why we feel the way we do. The best example are the two songs that bookend the album, “The Night You Left New York” and “These Rivers Between Us.” Each song builds to a crescendo and you feel the emotions of a break up, which is initiated in “The Night You Left New York.” Ending in a sense of hope that everything will be ok and life goes on by the time “These Rivers Between Us” ends the album.

This is where Slow Six finds success. Not playing by the rules, but by breaking them. Creating music that is as much atmosphere as it is groove, melody and substance. It is the type of music that you can easily get lost inside of. From the the sound of the dueling violins creating melodic point and counterpoint, the thundering of drums, to guitars understated just enough that they blend perfectly with the complex chords hammered out on the Fender Rhodes. Slow Six has taken this line up of instruments and moved it past the inflated ego's of what could come off as a fat and bloated third generation Prog-rock sound and achieved what bands like Yes were trying to do in the 70's. This time successfully and without Rick Wakeman's Liberace inspired capes.

Post-Apocalyptic Dub: "Ghetto Defendent" Dr. Israel

14 years ago I was handed a CD by a friend. He said something along the lines of “You have to check this out, I think you'll like it.” There have been many times in the past where I heard new music through friends. Especially when it comes to a time period that was a decade plus ago. The CD that was handed to me was “Inna City Pressure” by Dr. Israel. I am always willing to give new music a shot. The moment that I sat down in the drivers seat this particular disc made its way into my car stereo. The A Capella opening of “Inna City Pressure” segued into the track “Pressure” and from that moment, I was hooked. This album is the combination of everything that I love about music. It is Reggae, it is Dub, it is Hip-Hop, it is Punk, it is Drum and Bass, and it is so much more. “Inna City Pressure” is one of the albums that expanded my young mind to understand that music is just that: Music. There are no are barriers in this art and it solidified the idea that music should be so much more than crammed into a small tin as if it were to be consumed like a canned ham. This type of music; the kind that excites the imagination and moves beyond the classification of what art is. For me it is on a list of albums and artists such as The Clash, David Byrne's “Feelings,” and Peter Gabriel.

Fast forward 14 years Dr. Israel is still excites my imagination with his newest EP “Ghetto Defendant.” An EP that includes a new take on The Clash's “Ghetto Defendant,” an appearance by Killah Priest, and mixes by Bill Lawrence. This EP fulfills the promise I heard those years ago on “Inna City Pressure.” Dr. Israel has taken his vision of what Reggae and Dub should sound like and then moves it into the 21^st century. A sound that is not for just Deadheads, Rastas, or the derivative swill of Sean Kingstion (or worse, Shaggy.). It is vibrant and of its time. Dr. Israel has taken the message of love and revolution that is important to Marley, Tosh, and Wailer. He has taken full advantage of the sounds that were inspired by reggae; Dub, Hip-Hop, Punk, and Techno. Creating the soundtrack of a post-apocalyptic urban jungle.

It is true that the description of the music that appears on this EP (along with previous releases) be called Brooklyn Dub, a term that is plastered upon that is upon his website. A sound that has mixed up everything that makes up Brooklyn; past, present, and future. Sounds that are as much Hip-Hop, the diversity of the various neighborhoods, cultures, heritage as well as Punk. Dr. Israel bridges the gaps that seem to be segmented by musical lines. There is the retelling of The Clash classic “Ghetto Defendant” that opens the album and a new story of the streets unfolds with each track. From that point there is no letting up and in each song you can hear the steam rising from the streets. It is the sound of New York. With “Ghetto Defendant” no longer is the saxophone synonymous with New York. The new sound comes from the fierce movement of beat. A beat that gives the imagination a scenery of this post-apocalyptic character saving the city, humanity, love, and creativity.

When listening to a new work I have to admit that I am not to concerned with whether or not the album has a greater theme to it. There is more of an exploration in finding out if the music is good, great, or pushes the edges of what an artist can do. Pushing the edges is exactly what Dr. Israel has done with this EP. Much like the first time I heard “Inna City Pressure,” he pushes the edge of where music can go. The first time for me, and being a self proclaimed Metal-head, was hearing the song “The Doctor vs The Wizard.” Taking the riffs from Black Sabbath and mixing them with Dub, Reggae, Dancehall, and Drum and Bass. “Ghetto Defendant” is the expansion of this from an artist that has broadened his range and has matured in a way that artists should. Maturing into a voice that pushes the fringe of what we know as music.

Dr. Israel digs deeply into the heart of what is happening on a street level. A street level that is unacceptable to anyone that sees injustice in our world. It does not matter if you are from the streets of Brooklyn, Trenchtown, religiously divided countries, or the suburbs of the world. There is the message of love and that we as humans can rise above a certain machinery that is set in place. That we as people can concur with love and creativity. A message that has been proven time and time again, but in the times that seem to be dragging us down are the words and beats that need to be heard. “Ghetto Defendant” needs to be heard. 

Download for free at Dr. Israel dot net

Daydreaming in America... Kooth: "Daydreaming" mixtape review

DC has never really had a sound that the average person could identify with as being solely from DC. Sure, there have been acts who are synonymous with the area: Minot Threat, Bad Brains, Fugazi, and The Thievery Corporation. When it comes to music in the realm of funk, jazz, RnB, or hip-hop there isn't much. One thing that many music lovers point to is either influential punk or the "go-go" sound. This is what sets Kooth apart from other artists that have, or could have, come from DC. Sans the punk influence, this emcee has taken a hip-hop spin on the go-go sound and mixed it with the down-tempo aesthetic of The Thievery Corporation. A blending of heavy (and sometimes aggressive) lo-if beats, lush electronic sounds, and a flow unlike many of his contemporaries sets Kooth apart from the garden variety hip-hop artists trying to make it big in today's compartmentalized music industry.

Whether the combination of these two styles are intentional or just a product of the area is not the point. What it comes down to is trying to find a way to describe this young emcee and the production to people who may not have ventured into the realm of hip-hop. As well as those who have not ventured into the idea of digging digitally. Most have the thought of digging as going through the bins at record stores, Salvation Armies, and yard sales. With the advent of high speed internet, the world of music is at our finger tips. The act of finding something new that excites the imagination online is just like going through the musty smell of a record store.

Just the act of scavenging for music has taken a new turn in this digital age. Unlike in days gone by many people don't find themselves wandering for hours in the aisles of a record store looking for something new. There is a new sense of discovery as one takes to the internet. This record store is much larger with a greater vastness of what can be dialed in from downloads, internet radio, and YouTube. The one musical culture that seems to have embraced the new frontier is hip-hop. It seems to be that way after the success of Lil Wayne. His appearances after appearances on mixtapes until he blew up with “Tha Carter III.”

The sound of the latest mixtape from Kooth continues the with what appeared on “Airborne.” It is the sound of DC. It is the combination of an older style and the lushness of down-tempo. Don't think for a minute that because the music has a lushness that he is the second coming of P.M. Dawn (no offense to P.M. Dawn.) That is not the case. There is a drive and determination that makes Kooth's flow different from many of the other up-and-coming emcees. Instead of the pounding of chests and false aires, Kooth makes it very clear that he is going to make it. Most of the songs that appear on this mixtape is about him working his way up and creating the lifestyle he wants from hip-hop. There is an honesty that doesn't appear very often.

Just the message of making something of yourself is ultimately infectious. Hearing someone who wants something bad enough makes others believe they too can make it. Starting from the bottom and working their way up to achieve what they dream of. Kooth's rhymes are the embodiment of the American dream. Not that American dream of a suburban home, white picket fence, a wife, two kids, a dog, and all the other trappings that middle class comfort can buy. The American Dream that no matter what you want to do, you can work your way up and get to where you are going. The happiness of creating a life for yourself.

Kooths voice is what you hear on the majority of these songs. By today's standards it is something of an oddity in hip-hop. More often than not many of these mixtapes feature guest appearance after guest appearance. These are used to garner some sort of street creed and do not work within the context of the song they appear on. For one emcee to carry the bulk of an album on the strength of his (or her) rhymes alone is a feet unto itself these days.

“Daydreaming” does feature a couple guest appearances. Unlike most guest appearances, these fit perfectly with the song and the other emcees offset the timbre of Kooth's voice. The two songs (out of 14) feature Jace and Big 6. The first of which is a club anthem, “She A Killa.” With each voice and verse these emcees move the song forward. The last of the guest appearances comes in the song “Cold Hearted” with Big 6. Both of whom rhyme of love and friendships gone bad. Each of them take their verses all the while reminding us that they are going to move on and make it to the top.

One of the great surprises of this mixtape is the track “Want It All.” For what seems like years, Coldplay has been willing to showcase their love for hip-hop to a world that seems to either not understand it or hide it under the bed until it is time to dress up and go out for a few drinks. It seems to be fair turnaround that Kooth does the same. Taking a melody and keyboard hook from the song “Paradise” by Coldplay, offering up a fitting musical tribute of his own.

The music has a great accessibility making it easy to get lost within. These sounds can easily belong in the car, the club, chilling at home, or broadcast through radio waves. There is only a matter of time before these sounds and words find their way to the masses. They are messages many need to hear. There is nothing wrong with daydreaming, and we need those daydreams so that we can move forward in life and love.

Download for free:

http://www.datpiff.com/Kooth-Daydreaming-mixtape.367496.html

Follow on Twitter:

@Therealkooth

Diggin in on Jazz, Kenny Burrell Quintet with John Coltrane

As the rain pours on this St. Louis evening, the sound of jazz floats through the air of this house. It's one of those moments where you can feel the rain hitting the window. A blue tinged guitar and saxophone moves to outer limits. A rhythm section holding down what seems to be two forces at odds with each other. A contrasting a sound coming from the blues clubs of Detroit and the basement jazz haunts of Philadelphia.

It is the sound of Kenny Burrell's guitar, the saxophone of John Coltrane and a rhythm section made up of Tommy Flanagan, Paul Chambers, and Jimmy Cobb. To some, with one man being responsible for “Giant Steps” and the other for “Midnight Blue,” these two worlds should not coexist on one record. Let alone coexisting in one jam session. Luckily, we have an albums worth of songs that capture these five men in one room.

It seems like a world away when you place the needle on this record. From hearing iconic albums like “Midnight Blue,” “A Love Supreme,” and “Kind of Blue” (let us not forgetting Burrell's great work with the B3 god Jimmy Smith) it seems at odd that these two men, plus a rollick rhythm section, would find themselves at Rudy Van Gelder's New Jersey studio cutting an record for Prestige. As the hiss and sizzle fades into the first track, “Freight Trane,” you know that you are in for a treat. A treat that sounds more like a group of guys getting together in the after-hours speakeasy than getting together to record.

Listening to it sounds like you are peaking into a room. A room with a few joints, numerous packs of cigarettes, a couple bottles of beer and whiskey. A dimly lit room with just the sight of cigarette smoke lingering in the air as each waits for their turn play through a few choruses. These are the albums in jazz that capture the true nature of this great American art form. Even if they are planned that way or not It is the ones that have a feeling of timelessness that makes you want to start from front to back and then from front to back again.

This is an album that was recorded in the late '50's. It seems to be of it's time but with all great jazz when you say that it is “of it's time” it creates a longevity that can only happen with jazz and blues. It is true that there are a number of great rock, pop, and hip-hop albums that stand up with what is considered the canon of American music. But, Jazz just seems to hold up better. It is like wine. It doesn't seem to be trapped in a vacuum of time that so many other pieces of music get stuck in.

It is not that well known of an album and because of this it seems to have been lost in the shuffle. Especially when it comes to the catalog of both Burrell, Coltrane and a remarkable rhythm section. A rhythm section that were key factors on a couple seminal albums mentioned above: “Giant Steps” and “Kind of Blue.” It is a shame that this album happens to be misplaced. By no means is this album revolutionary, but for what it is: it is a great album.

This album is a collection of songs that are original compositions of both Tommy Flanagan and Kenny Burrell completed with two standards. There is a life inside each of the songs. A life that is brought to a boil with the power of Paul Chambers on bass and Jimmy Cobb on drums. A rhythm section that drives the music forward. It almost seems to drive it forward with such force that it takes the light touch of Tommy Flanagan to hold the ground underneath the feet of both Burrell and Coltrane with his sparse rhythms and licks of the piano.

In these five songs each of the musicians takes turns in showcasing there talents. Chambers bowed bass solo in the opening track “Freight Trane.” Burrell's blues inflected interpretation of the Hammerstein and Kern song “Why was I Born?” Flanagan's opening solo on the final song “Big Paul,” Jimmy Cobb holding and pushing the back beat. And John Coltrane, holding himself closer to the earth than you expect to hear of him.

“The Kenny Burrell Quintet with John Coltrane” isn't an album that is breaking down the doors at the revolutionary sound that we would come to hear from these artists. It is a fun romp through a smokey night in some after hours speakeasy with excellent musicians Being just musicians. Playing tunes for the fun of playing instead of taking their art to the next level. It is the type of album that is great to listen to late at night or on a stormy Sunday morning. It evokes the feel and love of music that each of these guys have.