Stray Cats / Built for Speed (1982)

This infamous trio is so loud and intense that you’ll swear there are more than three people in the band. But guitarist Brian Setzer, along with bassist Lee Rocker and drummer Slim Jim Phantom, do all the shaking themselves. In looks, in repertoire, in style and in sound, they're the epitome of rockabilly revival. The album has plenty of diverse material to choose from. “Stray Cat Strut” is a swanky mid-tempo number that is the record’s big hit. But don’t miss the rocking title cut, the manic energy of Eddie Cochrane's “Jeannie Jeannie Jeannie,” or classic shoutalong chorus of “Rev It Up and Go.” At times, Setzer's big archtop positively howls on the verge of breaking up, beaten back to the brink only through the constant contact he makes with his instrument's strings. The rhythm section is relentless. I love the tone of the album, too, which exudes pure attitude and is dripping with the vintage appeal of stairwell echo, chrome, fresh paint, and spring reverb. I don't know if it's the all the customized Detroit hardware, or the band's steely glares, or what, but after looking at the album's front cover, I'm tempted to speculate upon the presence of Kenneth Anger looming just outside the frame. That cover says it all, really, if a cover ever could. It’s a rare case of an album where all songs are on the same level and it’s impossible to pick a favorite. Newbies take heed: I am in no ways responsible for first-time listeners who wake up with bleeding tattoos, stolen cars or sleeveless shirts. 

Ahmad Jamal Trio / Chamber Music of the New Jazz (1955)

With just a piano, guitar and bass, the lineup on this record is somewhat unconventional for a jazz piano trio, which usually consists of piano, bass, and drums. But Jamal has all the freedom he wants for interpretation, thus satisfying the purpose of playing with a trio instead of a larger group. At the same time, his work does not overshadow the proceedings to the point where other members cannot make contributions. Quite the contrary, all lights are equally bright here. The music, a combination of standards and originals by Jamal, is thoroughly enjoyable and the sound of the Argo CD is excellent. There is much eloquent phrasing from Jamal and Crawford on guitar. Jamal employs diverse techniques like walking colorfully voiced block chords, letting the left hand lay out, making playfully creative runs with the right hand, and percussive forays into the dusty end of the keyboard. Without a drummer he's also doing double duty with Crosby, keeping time and adding lift with electric stabs at chords, a bit like Duke would do. Crawford likes to alternate comping with delicious slides and arpeggiated runs or percussive plucking of the strings -- a technique later copied by scores of players. Israel Crosby, a great talent gone too soon from this Earth, provides almost supernatural rhythm with the bass and superb interplay with Jamal. The group chemistry is very positive so the recording stays fresh no matter how many times I've heard it. If you like Miles Davis then you'll want to pay special attention, because Miles was a big fan of Jamal's repertoire and arrangements. And so was Gil Evans, for that matter, who, you'll recall, is credited with arrangements on 'Miles Ahead' that were duly influenced by Mr. Jamal's trio. It doesn't matter if you're a seasoned jazz listener, are new to jazz, or don't care and just want something different to listen to: this recording is an essential.