The Stylistics were one of the best-known Philadelphia soul groups of the 1970s. They formed in 1968, and were composed of lead Russell Thompkins, Jr., Herbie Murrell, Airrion Love, James Smith, and James Dunn. All of their US hits were ballads, graced by the soaring falsetto of Russell Thompkins, Jr. and the lush yet graceful productions of Thom Bell, which helped make the Stylistics one of the most successful soul groups of the first half of the 1970s." During the early 1970s, the band had twelve straight U.S. R&B top ten hits, including "Stop, Look, Listen (To Your Heart)", "You Are Everything", "Betcha by Golly, Wow", "I'm Stone in Love with You", "Break Up to Make Up", and "You Make Me Feel Brand New".
Died in the Wool — variations on David Sylvian's 2009 release Manafon with the addition of 6 new pieces, including collaborations with acclaimed composer Dai Fujikura, producers Jan Bang and Erik Honoré and a stellar roster of contemporary musicians and improvisers. Released as a Double CD digipak in a hardboard slipcase. Disc Two featuring audio from the installation When We Return You Won't Recognise Us.
Official Release #103. Performed/Arranged/Conducted by Frank Zappa. Road Tapes, Venue #3 features two complete shows from Tyrone Guthrie Theater in Minneapolis, MN. The July '70 Mothers line-up featured Flo & Eddie, George Duke, Ian Underwood, Aynsley Dunbar & Jeff Simmons. FZ's vast Vault does not contain many full shows from this time period, so that alone makes this release a special one. The tapes were recorded to stereo reel-to-reel, but not without problems. Due to their historical relevance, we felt it was worth it, warts 'n all! Venue #3 does not disappoint.
The material on CD 1 dates from the latter half of Artie Shaw’s career as a bandleader, which ended with his retirement in 1954. Always presenting tasteful and often unusually deep interpretations of big-band jazz and dance music, and featuring his exquisite and frequently profound clarinet improvisations, Shaw’s career climaxed in his rise to superstar status as the most popular musician in North America at the height of the Swing Era in 1939.
Conversing with Artie Shaw – as Loren Schoenberg and I did in preparation for annotating these further treasures from his last recordings – is an exhilarating experience. This is because this master of the clarinet excels at making connections. Just as he always knew how to get from one note the next in such a way that the result was a cohesive statement – a story, as jazz musicians used to put it – he knows how to link one idea to another, to make allusions, to place things in context, within a frame of reference that ranges wide and far. Artie Shaw always told a story when he played, and he had that sound – immediately, unmistakably identifiable as his and his alone. It is a treat to hear him tell us some timeless stories we hadn’t heard before. Dan Morgenstern.
These marvellous performances are culled from Artie Shaw’s final recordings as an instrumentalist. It is crystal clear that he retired at the height of his powers. Throughout these pieces, his playing is a joy to the ear and the mind, and his unique sound on the clarinet has seldom if ever been better captured. Shaw was still in his prime as a leader as well: this last Gramercy Five was a collective of the first order with a sound and style of its own, attuned to the times but never falling into the trap of trendiness.
Album #4 for Barock Project. A journey into the modern arrangements of classical Progressive and Symphonic Rock. Two world class special guests: Vittorio De Scalzi (leader and founder of New Trolls) on vocals and flute and Paul Whitehead (icon of 70's progressive visual cover art) to paint and sign the cover. Special limited edition. Tracklist different from original edition plus 2 bonus tracks on CD 2.
Paolo Fresu's Songlines/Night & Blue is a beautiful performance by a musician who does not feel compelled to prove himself with pyrotechnics. Instead, on this two-disc set, the Italian trumpeter prefers speaking his piece with lush melodies and a rich full horn sound, supported by an exceptional quartet. Being an Italian album, it seems appropriate to use a few musical terms. The entire affair, around 140 minutes in length, is taken sostenuto (smoothly), with a pace that slides between adagio (slowly) and andante (walking), but never goes much faster than that. But this down-tempo consistency should not be confused with sloth. Everything here is tightly played, with some real intensity from the musicians; it's just not going to wake the neighbors with frenetic thunder.