Sunday, 20 January 2019

Charlene Bartley ‎– The Weekend Of A Private Secretary (1957)

Genre: Jazz
Format: CD, Vinyl
Label: RCA Victor

01.   The Weekend Of A Private Secretary
02.   That's For Me
03.   She Didn't Say 'Yes'
04.   Moon Over Miami
05.   I've Got A Crush On You
06.   Mixed Emotions
07.   I Don't Stand A Ghost Of A Chance With You
08.   Orchids In The Moonlight
09.   Under A Blanket Of Blue
10.   We'll Be Together Again
11.   Sand In My Shoes
12.   Memories Of You

Bass – Don Aless, Milt Hinton
Guitar – Don Alessi
Orchestra – Hal McKusick's Orchestra, Tito Puente And His Orchestra
Vocals – Charlene Bartley

The Weekend of a Private Secretary is as hip and delightful as its title promises. A singer whose fierce intelligence and droll wit more than compensate for her limited vocal range, Charlene Bartley is the very essence of postwar chic, navigating the rhythmic twists of Tito Puente's lively arrangements with sophistication and style. Bartley is a consummate storyteller, interpreting lyrics like "She Didn't Say Yes" and "Sand in My Shoes" with inimitable pluck. While Puente's Latin treatments lend the session much of its energy, co-arranger Hal McKusick is no less vital to the album's success, crafting simple but effective settings that underscore Bartley's modernist outlook.
Jason Ankeny / AllMusic

Fred Frith ‎– "The Technology Of Tears" And Other Music For Dance And Theatre (1988)

Style: Fusion, Avantgarde, Experimental
Format: CD, Vinyl
Label: RecRec Music, SST Records

A "The Technology Of Tears"
1.   Sadness, Its Bones Bleached Behind Us
2.   You Are What You Eat
3.   The Palace Of Laughter, The Technology Of Tears
B "Jigsaw"
4.   Jigsaw
5.   Jigsaw Coda

Alto Saxophone – John Zorn
Instruments, Voice – Fred Frith
Trombone – Jim Staley
Turntables – Christian Marclay
Voice – Tenko

"Sadness, Its Bleached Bones Behind Us," and "You Are What You Eat" are unrelenting slices of hard-edged sounds over a pulse. "The Palace of Laughter, The Technology of Tears" is an imaginative, intense, varied suite comparing music which represents the past "frozen tears" of sadness -- displayed as images before us by the media, etc. -- with the "hot tears" of the moment that cannot be absorbed by technology. "Jigsaw" and "Jigsaw Coda" (1986) creates patterns with constantly shifting accents and sub-divisions..uneven pieces to be fit together..."Propaganda" (1987) music for a theatre production is a series of brilliantly evocative soundpieces with electronics, guitar, and sound and explosions in the distance, tantric harmonizing in the desert, "A deeper understanding of conflict", "The Relentless Landscape," "The Excellent Hyena," "The Wolf Demon." With John Zorn, alto sax, Tenko, voice, Christian Marclay, turntables, Jim Staley, trombone.
Gene Tyranny / AllMusic