IN BRIEF

Rip It Up, Issue 35, 1 June 1980, Page 16

IN BRIEF

Reviews by Ken Williams, George Kay and Alastair Dougal.

Michael Bloomfield, Between the Hard Place and the Ground (Takoma) Once the late-60s blues-rock guitar hotshot, Michael Bloomfield has become increasingly reclusive, preferring to play only clubs close to his Bay Area homeground. To judge by his collection of nicely understated blues, his time away from the limelight has done him nothing but good. His playing and (especially) his singing have gained in authority, and he swings effortlessly through seven urban blues selections, including a nod towards New Orleans in "Big Chief", one of the best of the many fine works of the late Professor Longhair. KW The Dave Brubeck Quartet, Back Home (Concord/interfusion) This album was recorded at the Concord Jazz Festival in Concord, California, birthplace of Dave Brubeck 60 years ago. It must have been some homecoming. The new quartet swings precisely but freely, with tenor saxman Jerry Bergonzi taking the honours by a slim margin. The march of time has done nothing to dull Brubeck. If anything, his playing seems more open today than in the past, although occasionally he is still guilty of a heavy hand on the keyboard. That aside, this is rewarding jazz and makes me mourn missing the quartet on their tour here earlier in the year. KW Felix Cavaliere, Castles in the Air (Epic) Felix Cavaliere one-time Young Rascals organist and singer has one of the great white R&B voices of our time and, on Castles in the Air, he produces the kind of smooth, poppy soul that has characterised his previous solo albums. But I’m a sucker for the guy's voice and if Boz Scaggs can make big bucks out of this kind of stuff, why not Cavaliere ... huh? AD Grover Washington Jr, Skylarkin’ (Motown)

Grover Washington Jr plays various saxophones and flute on this self-produced album of light, airy jazz. While it isn't about to set the world on fire, neither is it without meat. Washington has a seductive tone, accompanied by enviable technique. Given that he and his ace session men (Richard Tee, Eric Gale, Ralph MacDonald et al) work within the relative safety of so-called 'fusion' the melodic breeziness of Skylarkin ’ is very pleasing. KW Original Mirrors, Original Mirrors (Mercury) Every fashion spawns its imitators and the post-77 rock revival has had its fair share. Original Mirrors are aptly named because they seem determined to reflect almost every facet of present day rock'n'roll. XTC, Costello, the Clash etc have all been studied to produce their indistinct, planed-down moderne music. So original it ain’t, but mind you there's one or two songs, their single "Boys Cry” for instance, that show they know how to use their influences to best advantage. Second hand goods, but in some cases, goods nevertheless. GK

Grateful Dead, Go To Heaven (Arista) Their position as a counter-culture symbol eroded by time and change, the Dead are now, if not an anachronism, just another rock band with a country accent. A shadow of past efforts, Go To Heaven has only the distinctive voices of Bob Weir and Jerry Garcia and Garcia’s mellow guitar playing to set it apart from other minor league countrv-rock outfits. KW Darts, Dart Attack (Magnet) On their first album Darts managed to revive 50’s doo wop rock and roll and avoid the alternate traps of being either overly respectful to the genre or treating it as a nostalgic joke They handled the material with love and produced a zestful collection. But Dart Attack, their third album, manages to be both over-arranged and dull. The art of revival has always been a difficult one and, right here, Darts have lost the knack. AD David Bromberg Band, You Should See the Rest of the Band (Fantasy) A long-time session man, valued for his guitar and fiddle playing, Bromberg's own albums tend toward a musical eclecticism verging on the academic. His latest effort narrows its range a little, and it is probably more accessible as a result. Bromberg delivers a set of mainly good-humoured electric blues, with a medley of old jigs and reels thrown in for good measure. His version of the blues ballad "As the Years Go Passing By" is outstanding. KW The Fools, Sold Out (EMI) They gave you "Psycho Chicken" and now in amends they’ve Sold Out.

The Fools are another Pete Solley (ex-Procol Harum, produced Jo Jo Zep, the Sports and the Romantics) electronically controlled five piece, American of course. They could be any smart vibrant pop conglomerate but they have one or two high cards all their own. "Sad Story" is the sort of tough love song with plenty of spaces that only Americans can get away with and "It’s A Night For Beautiful Girls” is dumb pop reggae that clicks. Better than the Knack, but what isn’t? GK John Mayall, No More Interviews (DJM) Mayall is more likely to be remembered for the future stars who graduated from the musical finishing school of his succession of bands, rather than for any personal contribution. Since his days as the Father of British Blues (and all that cods) Mayall’s star has waned. He no longer employs soloists of the distinction of Eric Clapton, Mick Taylor and the late Blue Mitchell. This collection of Hollywood funk is adequate but little more. KW David Byron, This Day and Age (Arista) Arty name has Arista’s new wonderboy and he's already been hailed by the non-music American press as another Springsteen on the evidence of this, his first album. Actually Byron is the US of A’s attempted counterpunch at one Elvis Costello and on "Big Boys” and "Lorry Anne" he uses El's vocal and songwriting mannerisms without even blushing. Being tolerant, an enjoyable if undistinguished album. Is 1980 to be another Year of the Clone? GK