"Suicide Society" is the fifteenth album by the Canadian heavy metal band Annihilator. As usual, guitar wizard Jeff Waters handles all songwriting duties, plays all guitar & bass, engineers, produces, mixes and masters "Suicide Society"… and Waters is also back commanding lead vocal duties, as he did on the critically acclaimed “King of the Kill” (1994), “Refresh the Demon” (1996), “Remains” (1997) and other Annihilator albums over the years.
Formed in 1971 by old schoolmates Dane Stevens and Cedric Sharpley, along with local bass player Neil Brewer, Druid spent years playing clubs as a trio before winning a competition by Melody Maker for the best unsigned band. At this point they added Andrew McCrorie-Shand, a recent London College of Music graduate. The Melody Maker prize included new instruments and a recording contract, and their debut album appeared in July 1975 among envious whispers by rival bands and music publications. The band had a difficult time shaking the charge of hype, and they were also charged in some quarters as being Yes soundalikes – Starcastle in the U.S. was later to be tarred with the same brush. (In fact, Druid was an opening act at a number of Yes concerts.) The Yes comparison, though an obvious one, is not entirely accurate…
Chihiro Yamanaka major debut 10th anniversary commemorative work! The past few years, committed to, such as the Beatles music and classic, also It was work that was challenging even ensemble, including wind in the previous work, to commemorate the 10th anniversary of major debut This work piano trio work tackle the royal road of the standard song! latest studio album and made this work the theme of ragtime. Around the famous songs such as the song of the famous Scott Joplin that was the rage in the United States in the early 19th century, William Volcom, music other Keith Jarrett, a wide range of recording plans such as original songs of the mountains. Ragtime was focused on the new style of the mountains of the piano in pursuit of specific syncopation, works of fan coveted.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. Featuring the work of obscure composer/pianist Todd Cochrane, vibraphonist Bobby Hutcherson's 1971 album Head On is a highly cerebral and atmospheric affair that is somewhat different than his other equally experimental '70s work. Although the album does feature more of the avant-garde jazz that Hutcherson was exploring during this period, Cochrane's material is heavily influenced by contemporary classical music, and accordingly Head On is more of an exercise in reflective, layered jazz than rambunctious freebop – though it does offer some of that, too.
Reissue. Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). Bobby Hutcherson's second quartet session, Oblique, shares both pianist Herbie Hancock and drummer Joe Chambers with his first, Happenings (bassist Albert Stinson is a newcomer). However, the approach is somewhat different this time around. For starters, there's less emphasis on Hutcherson originals; he contributes only three of the six pieces, with one from Hancock and two from the typically free-thinking Chambers. And compared to the relatively simple compositions and reflective soloing on Happenings, Oblique is often more complex in its post-bop style and more emotionally direct (despite what the title may suggest).
Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). Carried by its almost impossibly infectious eponymous opening track, The Sidewinder helped foreshadow the sounds of boogaloo and soul-jazz with its healthy R&B influence and Latin tinge. While the rest of the album retreats to a more conventional hard bop sound, Morgan's compositions are forward-thinking and universally solid. Only 25 at the time of its release, Morgan was accomplished (and perhaps cocky) enough to speak of mentoring the great Joe Henderson, who at 26 was just beginning to play dates with Blue Note after getting out of the military.
Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). This long-lost Lee Morgan session was not released for the first time until it was discovered in the Blue Note vaults by Michael Cuscuna in 1984; it has still not been reissued on CD. Originals by Cal Massey, Duke Pearson ("Is That So") and Walter Davis, in addition to a couple of surprising pop tunes ("What Not My Love" and "Once in My Lifetime") and Morgan's title cut, are well-played by the quintet (which includes the trumpeter/leader, Hank Mobley on tenor, pianist Cedar Walton, bassist Paul Chambers and drummer Billy Higgins).
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. On Song for My Daughter, his third record for Blue Note, Jack Wilson "changed with the times," to paraphrase one of the record's songs. Like many of his peers on the label, Wilson pursued a pop direction as the '60s drew to a close, which meant he covered pop hits like "Scarborough Fair/Canticle" and "Stormy," and that he recorded the album with a large band augmented by a string section. It is a testament to Wilson's strengths as a pianist that he doesn't get lost in this heavy-handed setting and manages to contribute some typically graceful moments, including the lovely title song.
Lee Morgan's final studio recording before he was murdered was initially released as a two-fer LP, and the original recordings without alternate takes are included here on one CD. This was a fertile creative time for Morgan, as rivals Freddie Hubbard and Woody Shaw were embracing the electrified sounds of the times and Morgan followed suit. Harold Mabern is on the Fender Rhodes piano, tenor saxophonist Billy Harper proves a formidable front-line mate, and the vibrant Bobbi Humphrey is heard on flute before she commercialized her sound.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A real treasure through and through – one of the most unusual Blue Note albums you'll ever hear, and a set that's one of the best-remembered from the team of pianist Jack Wilson and vibist Roy Ayers! Long before Roy struck out on his own in the world of funky soul, he worked often in the 60s with Wilson – and the pair have this unique way of blending vibes and piano that's completely fresh, and still unmatched all these many years later!