If you're going to pillage someone else's ideas, then go for broke. Because even if you find yourself crammed between the barriers of creative space, utterly at a loss for ideas, expression, or thought, you'd still have a self-respect buzzing in your ear like a mad angelic insect, putting down the newspaper and taking out a cigar to remind you that, hell, if want to sound like Radiohead when even Thom Yorke doesn't want to sound like Radiohead, you might as well take it to preposterous, bombastic, over-the-top levels. Add church organs, mental electronics, riffs bouncing off each other like the monolithic screams in 2001: A Space Odyssey, and you'll finally be in position to crack skulls like coconuts and make the world's speakers ooze gooey blood.
Cybill Shepherd's first ever live CD release, recorded at the Cinegrill at the historic Hollywood Roosevelt Hotel in June of 2000. The act is a fusion of song and comedy from her thirty year rollercoaster of a career. Cybill is frank, funny and as bold as ever. It includes it all... the laughs, the tears, even cutlery against plates!
Pianist Larry Vuckovich revisits his landmark 1980 recording on this combined reissue and new release. Prefiguring the much-lauded work of Dave Douglas and the Tiny Bell Trio, guitarist Brad Shepik, and even John Zorn, the Yugoslavian-born Vuckovich combines the ethnic melodies and rhythms from his native Balkans with modal jazz. Never as avant-garde as his contemporaries, Vuckovich nonetheless pushes the boundaries of both jazz and folk styles. The original tracks featured the brilliant vibe playing of Bobby Hutcherson, who unfortunately does not reprise his role on the four new pieces.
Though John Barry achieved popular recognition for the swinging, loungey, noir-ish soundtracks he composed for the James Bond films, he moved to the front rank of film composers with his score for 1966's BORN FREE. Stylistically, the music of BORN FREE is miles removed from Barry's Bond soundtracks, though the composer's fondness for brass fanfares, stirring strings, and lush, intricate charts with stunning dynamic range is still intact. On the whole, however, the music to BORN FREE has a playful, innocent quality, evoking the nature of the wild animals at the film's center. As the movie is set in Africa, Barry employs a range of African percussion instruments, and sections of flute music (which often seem to echo the sounds of birds or other creatures). The arrangements are expansive and sweeping, giving rise to the sensation of open plains, and Barry's recurring musical themes parallel the film's action (the track titles indicate plot events). The score is, for the most part, surprisingly subdued, with occasional bursts of energy (mirroring tumultuous events onscreen) and its stirring title theme the exceptions. Barry won an Academy Award for the score in 1966.
Musical politics can be about as nasty as the other sort. Willi Boskovsky was born in 1909, joined the violin section of the Vienna Philharmonic in 1932, became a co-leader in 1939 and took over the traditional New Year’s Day Concerts after the death of Clemens Krauss in 1954. With his natural style and elegance (conducting from the violin) he seemed the ideal person to take the New Year’s Day Concerts out of the confines of Austria and into the world of Eurovision, and by the late seventies it looked as if he would be conducting them for all eternity.
Guitarist Tommy Malone smiled as he took center stage at the 2002 New Orleans Jazz & Heritage Festival. He had reason to smile: things have been going his way lately. The former founder of the Subdudes took awhile to get his musical sea legs back after the popularSubdudes parted company in 1996…
Kalmery's brakka style, which was born in Egypt, but grew to popularity in the 1960s and ‘70s in Zaire, swings. And Kalmery approaches his music with a joy and jauntiness that's rare, pulling strands from all styles for African music, whether it's the dry guitar sound of Kenya, the rich polyrhythms of West Africa, the density of the northern deserts, or the joyful guitar and vocals that characterize so much South African music - he's a pan-African man, the continent's equivalent of Taj Mahal.