I never got around to writing this out last week, so there's two weeks of goodness here. So I learned something new about music (which I guess this is what this is all about). I noticed with a couple of albums I had that they both had the same song on it, so I thought one must have been a cover. But apparently back in the day, they had what were called jazz standards (at least as far as I can understand from what Megan tells me). They used to have singers, and song writers, but both in the same person were rare. As such, sometimes songs were shared among many people due to lack of licencing etc that we have today. Still, the performances themselves are what matter most. They've exposed me to songs I might not have listened to previously, even if they aren't the original artist.

Louis Prima - The Wildest! (1956)
On first listen I wasn't that interested in this album, but upon several additional listens I got into it more. I think my problem initially was that after the stellar performance that is Frank Sinatra, this just didn't hold up. Of course, Louis Prima is not trying to be Frank, or sing like him at all. I wouldn't say Louis' voice is gravelly... maybe a bit brash at times, and he can sing in deep voice at times. It took a few listens to get it, but it is a bit of a rambunctious performance. This album brought up the jazz standard discussion because the album opens with a 'Just a Gigolo/Aint Got Nobody' medley. There is a bit of variety in the album, from the sharp trumpet shrill on The Lip, and the duos with some female whom I haven't learnt the identity on (Nothings Too Good) For My Baby, to the surprising dark turn on (I'll Be Glad When You're Dead) You Rascal You. While I've come to appreciate this album on multiple listens, I wouldn't say I'm excited enough to add it to my collection.

Sabu - Palo Congo (1957)
I'm going to have to refer to the book for this one. I'm not sure what you would call this exactly. I think it's basically some Latin congo drum rhythms. Let's check... ok Maybe not Latin. Apparently the artist drew from his 'mixed Spanish/African/Wst Indian heritage'. Apprently he captures 'Cuban rumba and son styIe'. I'm not sure what language the singing is in because it isn't clear from the book, I suppose it is Spanish, though it is of little consequence to me. The beats themselves are what matter most, and they work well with the string instruments... I'm not sure if it is a guitar, sitar or something else. That said, I think my favourite song may be Asabache, which is (what I assume to be) a pair of congo drums being played, one laying down a backing beat while the other improvises. The singing is already interesting, in that sometimes it doesn't seem like it is really sung at all, but rather yelled, and another pair yell back in response, and it comes across as unscripted and spontaneous. As such it feels like a very organic musical process.

Miles Davis - Birth of the Cool (1957)
Of all the albums I'm discussing today, this is the one I was probably the most excited about listening to, because of my potential interest in jazz heightened by Duke Ellington from the previous week, and having heard about Miles Davis as a pinnacle of jazz. But I just didn't get into this at all. I don't even really know why. I tried a few times but after the requisite 3 listens, I just put this aside and kep listening to other stuff. Not much of a review here, but this just did not pique my interest.

Jack Elliot - Jack Takes The Floor (1958)
After my first listen of this album, I wondered what the hell was going on. I suppose you would call it folk with a bit of a country/bluesy aspect. Jack does a bit of talking and introductions on some of the tracks and they can be quite amusing. There are also a few guests as well. Some of the tracks have a lazy quality about them, while others can crank up a notch and be fairly energetic. Generally, I'm not sure if I like this album, or just like laughing at it. The lyrics and the way they are sung are what stand out most. Sometimes I would be listening to the lyrics in the car thinking 'did he just say that?'. Bed bugs as big as a jackass? Lord lord lord, they all go quack quack? I want to be your salty dog? You'll find all this lyrical insanity on this album. In contrast the final song has rather poetic lyric I'd like to share, though this is sung by a guest and not Jack himself (though I suppose he could be in the chorus) "Just put your feet on the road to peace, and see your journey through". All in all a rather strange album. I'm still undecided as to whether I really like it, but I'm glad I listened to it at least.

Sarah Vaughan - Sarah Vaughan at Mister Kelly's (1958)
The first thing to strike you is that Sarah Vaughan's voice is beautiful. The music here takes a backseat, but strong composition means it highlights her voice without being intrusive. She has such great voice control at different volumes and tones, it is amazing. Also of note is that this is a live performance, and while she speaks a couple of times, nearly everything is sung, including the intros to songs, and at one point she makes a mistake, and sings her apology as well, proving she has great improvisation skills as well. I don't think you would want to get into a rap battle with her. Interestingly there is a version of Just a Gigolo here, which is much much slower than Louis Prima's upbeat version, which was an interesting contrast. As much as I can appreciate her voice, I'm not that excited about this album. Her performance is stellar, but it just wasn't quite for me.

So all up, no albums that have really stood out as anything I would add to my collection, although there are a few songs I might like to listen to now and again. With the exception of Birth of the Cool, I'm still glad I listened to all of these albums and got a glimpse into the 1950's.