Annette Peacock - "I'm The One" Vinyl, LP, Album, Reissue, Remastered, 2016/1972 (Light in the Attic)

I I have heard of Annette Peacock's name through the ECM Jazz world as well as with the David Bowie world.  The first time I heard Peacock's music is through Mick Ronson's two solo albums where he recorded her "I'm The One," "Seven Days" (as a bonus cut on a Japanese issued CD), and to my surprise Peacock's arrangement of Elvis' "Love Me Tender."  I didn't realize that until I heard "I'm The One" album for the first time a few days ago.   In many ways, the missing link between Bowie and Mick Ronson, and also long-term keyboard player Mike Garson is on this album as well.  Perhaps he was the bridge between her and Bowie/Ronson.

One hear traces of future Bowie music in her work.  Specifically "Young Americans" era Bowie, but also even on his later work from the end of the century "Hours" he borrows a section from "I'm The One."  Peacock's album is pretty amazing, due to the mixture of her version of soul, experimentation with the Moog, and singing that is borderline Yoko Ono range.   Her husband Paul Bley and others add a jazzy quality that redefines the border of the music categories that are on this album.  Her version of "Love Me Tender" is a minimal take of the song, and again, Ronson basically borrowed his version on her vision of the song. 

To my ears, this is very much the sound of New York City in the 1970s, where the song format is stretched into other possibilities, and it still sounds fresh with its mixture of Sly Stone funk, and the sound of the Moog coming in and out of the mix.  A remarkable album. 

George Russell and His Orchestra, Featuring Bill Evans - "Jazz In The Space Age" Clear Vinyl, Album, LP, Limited Edition, 2016/1960 (Doxy)

The ultimate and very obscure Mid-Century America, with a ting of the Space Age, the jazz album. "Jazz in the Space Age" is John Cassavetes walking down Time Square in the middle of the night, and there's rain and he is smoking.  Or it could be "Sweet Smell of Success."  Nevertheless, this is a classic noir jazz album that sounds like an original soundtrack recording, but alas, it is not the case.  At the crisp of the 60s, this is an album that theme wise looks to the future, but in reality, it's a brilliant work with Bill Evans at his peak, with Paul Bley on the piano as well.  In fact, it's dueling pianos.  

George Russell plays "beats and timed drums."   He also wrote all the pieces on this album.  It's a combination of orchestrated jazz but with interesting 'bop' type of solos and improvising sections within the orchestration.  especially from Evans and Bley.  I was sort of expecting a Joe Meek like recording, and that is not the case.  Still, the playing by Evans and Bley are incredible.  Since I got this album last week, I have played it a lot in the house.   The album cover is great, but the music is not kitsch whatsoever or even space exotica.  But it is Evan/Bley-tastic.