Miles Davis – Big Fun. Sometimes you just don’t hear things the first time. When back in the day I first heard Big Fun and a lot of other 70s electric Miles, it all seemed noodly and pointless. Returning to it today, I find it has become one of my favorite examples of this era of Miles: beautiful, gentle, almost ambient.
Nina Simone – Let It Be Me. A live set from very late in her career. She does not (of course) sound like she did in the 1960s, and her voice shows a lot of wear. But it’s still a stunning performance; I particularly liked the title track and “Baltimore.” Is there a reason her version wasn’t the theme song for The Wire? Too obvious?
Sun Ra – The Cymbals/Symbols Sessions. Some of my favorite small-band Sun Ra recordings; keyboard-heavy workouts from 1973 with ripping horn solos and grooving bass work from Ronnie Boykins. The 16-minute “Thoughts Under a Dark Blue Light” is a stone-cold late-night classic. Five tracks from these sessions were reissued in the 1990s as part of the “The Great Lost Sun Ra Albums” collection, but the heroic work of the Sun Ra Archive has improved the sound and unearthed another six tracks in similar style, which are very much worth hearing.
Orchestra Baobab – Tribute To Ndiouga Dieng. A new album from Orchestra Baobab is a cause for celebration, even if the occasion was the death of one of their original vocalists in 2016. But the Afro-Cuban rhythms and liquid guitar work sound as good as ever. Irresistible.
Joe Venuti & Earl Hines – Hot Sonatas. Violinist Joe Venuti recorded some of the first and most famous duets in jazz in the 1920s in partnership with guitarist Eddie Lang. Pianist Earl Hines also recorded “Weather Bird,” a great duet with Louis Armstrong, in the same decade. The two played together for the first time on this delightful 1975 recording, showing just how full of life the 1920s chamber-jazz style could still be.