La vraie première anthologie de l’immense carrière de Michel Jonasz, un des plus grands artistes de ces 30 dernières années… avec tous ses plus grands classiques, gravés dans la mémoire collective : ‘’Dites-moi’’, ‘’Super nana’’, La boîte de Jazz’’,’’ Les vacances au bord de la mer’’, ‘’Lord Have Mercy’’, ‘’Changez tout’’, ‘’Joueur de Blues’’, ‘’Groove Baby Groove’’, ‘’Je voulais te dire que je t’attends’’… Des chansons intemporelles, réunies sur cet impeccable triple CD.
Canned Heat founder and guitar great Bob Hite once described his band as "a rock band with country/blues roots" and perhaps a little less modestly, "the first and greatest boogie band ever." Canned Heat's "greatness" has always seemed to elude them by a hair, however, regardless of their versatility and devotion to the strange and wonderful mutations their music endured, particularly in the '60s. But these dudes do nothing if not persevere. Having lost their signature falsetto and lowdown harp man Alan Wilson in 1970, 1996's Canned Heat Blues Band fronts "The Bear's" third vocal replacement, Robert Lucas, who wisely doesn't pretend he can cover those cool old road-trip-on-acid songs (like "Going Up the Country") in a particularly familiar manner.
Boasting fellow Chicago blues dynamo James Cotton on both harmonica and lead vocals, The Blues Never Die! is one of Otis Spann's most inspired albums. When this session was recorded for Prestige's Bluesville subsidiary in 1964, Spann was still best known for playing acoustic piano in Muddy Waters' band. But The Blues Never Die! (which Fantasy reissued on CD in 1990 on its Original Blues Classics imprint) shows that he was as great a leader as he was a sideman. From Willie Dixon's "I'm Ready" (a Chess gem Spann had played numerous times with Waters) and Elmore James' "Dust My Broom" to Cotton's spirited "Feelin' Good" and Spann's dark-humored "Must Have Been the Devil," Spann and Cotton enjoy a very strong rapport on this consistently rewarding date.
Guitarist Melvin Taylor's fluid, smartly constructed solos and understated yet winning vocals are surprises on this 1984 nine-track set recorded for Isabel and recently reissued by Evidence on CD. Taylor is not a fancy or arresting singer but succeeds through his simple, effective delivery of lyrics, slight inflections, and vocal nuances. His guitar work is impressive, with skittering riffs, shifting runs, and dashing solos. Organist/pianist Lucky Peterson is an excellent second soloist, adding cute background phrases at times, then stepping forward and challenging or buttressing Taylor's playing with his own dazzling lines.