Joe Williams Albums (25)
'The Heart and Soul of Joe Williams and George Shearing'
Release Date 1/1/2001
Tracks 12
Label Koch
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What The Critics Say
By the time this record first appeared in 1971 on George Shearing's short-lived Sheba label, jazz was in the doldrums due to the preponderance of rock on radio and in record stores. Shearing formed his own label in an attempt to control his own destiny, and singer Joe Williams was one of the first people he asked to appear on with him. The two veterans are joined by bassist Andy Simpkins and drummer Stix Hooper for a collection of ballads (both familiar and obscure) that feature either "heart" and/or "soul" in their titles. They work very well together due to their love of great melodies and their ability to build upon them. The surprise opener is "Heart and Soul," a fairly simple Hoagy Carmichael-Frank Loesser ditty that is often the first piece would-be pianists learn on their own; Shearing's easygoing yet swinging arrangement removes its typically monotonous character. Even though Rodgers & Hart's lovely "My Heart Stood Still" is barely over two minutes, the enchanting duo rendition by Williams and Shearing not only restores the often omitted verse but proves that less can be more. The out of tempo interpretation of "Young at Heart" and rather playful take of "I Let a Song Go Out of My Heart" are very refreshing. The lesser-known tunes are hardly lesser quality. Jimmy van Heusen and Johnny Burke penned the gorgeous yet unjustly forgotten "Humpty Dumpty Heart," while Alec Wilder's "Sleep My Heart" is another long lost treasure. Out of print since the label's demise in 1973, this 2001 reissue will be readily welcomed by fans of Joe Williams and George Shearing. ~ Ken Dryden, All Music Guide
'Live at Manchester Craftmen's Guild'
Release Date 8/24/1999
Tracks 14
Label Jazz MCG
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What The Critics Say
After leaving RCA Victor Records in 1966, Joe Williams began performing with the recently formed Thad Jones-Mel Lewis Orchestra, which had some of the rhythmic impetus he had enjoyed with Count Basie. Contracted to Solid State Records, they cut two albums, a blues collection called Presenting Joe Williams And The Jazz Orchestra (1967) and a ballad set, Something Old, New And Blue (1968). This budget-priced compilation selects a mere four tracks from the former and 11 of the 12 tracks from the latter (the missing one is "Everybody Loves My Baby"). While a more complete collection might have been hoped for, the music is still impressive, as Williams re-lives the kind of sound he achieved with Basie and the Jones-Lewis organization proves itself an effective neo-swing unit. ~ William Ruhlmann, All Music Guide
What The Critics Say
Joe Williams had been wanting to record an album of spirituals since 1957 and this is it. The veteran singer gives a blues feeling and swing to the traditional pieces which range from the rollicking title cut to "Go Down Moses," "I Couldn't Hear Nobody Pray" and "The Lord's Prayer." He is assisted by Marlena Shaw (a particularly effective partner on three of the numbers) and a five-piece chorus on four other songs. The backing usually features Patrice Rushen getting organ sounds out of her synthesizer. Despite the one-message content, the music has more variety than one might expect and Joe Williams acquits himself very well on this sincere and heartfelt effort. ~ Scott Yanow, All Music Guide
'Joe Williams & Friends'
Release Date 7/29/1994
Tracks 11
Label Spotlite
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'Here's to Life'
Release Date 1/24/1994
Tracks 13
Label Telarc Distribution
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'Presenting Joe Williams and the Thad Jones/Mel Lewis Jazz Orchestra'
Release Date 1/1/1994
Tracks 12
Label Blue Note
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What The Critics Say
This CD reissues one of Joe Williams' finest recordings. Accompanied by the Thad Jones/Mel Lewis Orchestra, the singer is heard at the peak of his powers. The big band primarily functions as an ensemble (Snooky Young gets off some good blasts on "Nobody Knows the Way I Feel This Morning"), but the inventive Thad Jones arrangements ensure that his illustrious sidemen have plenty to play. Many of the selections (half of which have been in the singer's repertoire ever since) are given definitive treatment on this set (particularly a humorous "Evil Man Blues," "Gee Baby, Ain't I Good to You," and "Smack Dab in the Middle"), and Williams scats at his best on "It Don't Mean a Thing." Get this one. ~ Scott Yanow, All Music Guide
'Ballad and Blues Master'
Release Date 1/1/1992
Tracks 12
Label Verve
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What The Critics Say
Taken from the same sessions that had previously resulted in Every Night, the identical adjectives apply. Joe Williams was in superior form for this live date, putting a lot of feeling into such songs as "You Can Depend on Me," "When Sunny Gets Blue" and "Dinner for One Please, James." A closing blues medley is particularly enjoyable and the backup by a quartet that includes pianist Morman Simmons and guitarist Henry Johnson is tasteful and swinging. ~ Scott Yanow, All Music Guide
'Live at Orchestra Hall, Detroit'
Release Date 7/1/1991
Tracks 15
Label Original Jazz Classics
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What The Critics Say
Joe Williams is so closely associated with the Count Basie Orchestra that it is difficult to believe that this Telarc CD was his first recording with jazz's great institution in over 30 years. Williams (in generally fine form despite an occasionally raspy voice) performs a well-rounded set of blues, ballads and standards with the Frank Foster-led Basie orchestra, combining some of his older hits with a few newer songs such as Grady Tate's "A Little at a Time" and "My Baby Upsets Me." Foster's sidemen are mostly heard in an ensemble role with all of the instrumental solos being rather brief; there is little interaction with the vocalist. That fault aside, this is one of Joe Williams's better recordings of the past decade. ~ Scott Yanow, All Music Guide
'That Holiday Feeling'
Release Date 8/10/1990
Tracks 11
Label Polygram
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What The Critics Say
One of the better Christmas jazz sets, Joe Williams is heard in quartets and quintets with pianist Norman Simmons, in several tender duets with pianist Ellis Larkins and backed by a horn section on a few tracks. It is nice to hear Williams' versions of such tunes as "Winter Wonderland," "Silent Night" and "The Christmas Song," but it's his interpretation of Thad Jones's "A Child Is Born" that takes honors. ~ Scott Yanow, All Music Guide
