AMERICAN EPIC, a film series produced by Allison McGourty, Duke Erikson and Director Bernard MacMahon, explores the pivotal recording journeys at the height of the Roaring Twenties, when music scouts armed with cutting-edge recording technology captured the breadth of American music and discovered the artists that would shape our world. The recordings they made of all the ethnic groups of America democratized the nation and gave a voice to everyone. Country singers in the Appalachians, Blues guitarists in the Mississippi Delta, Gospel preachers across the south, Cajun fiddlers in Louisiana, Tejano groups from the Texas Mexico border, Native American drummers in Arizona, and Hawaiian musicians were all recorded. It was the first time America heard itself.
Issued just after his landmark two-week June 1998 gig at the Village Vanguard and subsequent U.S./Canada tour, Chucho Valdйs' first album for Blue Note bears out a lot of the hype surrounding this hugely gifted Cuban pianist. Unlike many of today's younger Cuban keyboard hotshots, Valdйs not only has great technical chops and musical erudition, he manages to stay closely tied to his Cuban rhythmic roots. Thus, he employs a Cuban percussionist Roberto Vizcaino Guillot along with the standard bass (Alain Pйrez Rodriguez) and drums (Raъl Pнсeda Roque), which dramatically increases the possibilities for rhythmic experiments. Valdes more often than not is all over the keyboard, comfortable with everything from Ravel-ian classical complexity to Bill Evans' introspection to Cecil Taylor-like crunches.
Introducing Kenny Burrell is the debut album by American jazz guitarist Kenny Burrell, recorded in 1956 and released on the Blue Note label. In 2000, it was released on the 2 CD-set Introducing Kenny Burrell: The First Blue Note Sessions along with Kenny Burrell Volume 2, plus bonus tracks.
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.
One of the most glorious launches in history, the title track for the thrice-platinum The Final Countdown is so bombastically brilliant, such glorious garbage, that this nuclear hair assault could only spew from the vacuous '80s. But the full-tilt follow-up "Rock the Night" rules also: "You know it ain't easy/Running out of thrills." "Carrie" comes off a consummate butane ballad. Meanwhile, the rest of the disc packs so much power that Swedish superheroes Europe get away with all the processed pretension. In fact, the lofty ambition of "Danger on the Track," "Ninja," and "Cherokee" (each as tasty as its title) combines with heated drive and hot delivery to meld The Final Countdown into a unique portrait…
Director David Lynch crafted this hallucinogenic mystery-thriller that probes beneath the cheerful surface of suburban America to discover sadomasochistic violence, corruption, drug abuse, crime and perversion. Kyle Maclachlan stars as Jeffrey Beaumont, a square-jawed young man who returns to his picture-perfect small town when his father suffers a stroke. Walking through a field near his home, Jeff discovers a severed human ear, which he immediately brings to the police. Their disinterest sparks Jeff's curiosity, and he is soon drawn into a dangerous drama that's being played out by a lounge singer, Dorothy Vallens (Isabella Rossellini) and the ether-addicted Frank Booth (Dennis Hopper). The sociopathic Booth has kidnapped Dorothy's young son and is using the child as a bargaining chip to repeatedly beat, humiliate and rape Dorothy. Though he's drawn to the virginal, wholesome Sandy Williams (Laura Dern), Jeff is also aroused by Dorothy and in trying to aid her, he discovers his dark side.
Because the Jazz Crusaders in the early '70s dropped the "Jazz" from their name and later in the decade veered much closer to R&B and pop music than they had earlier, it is easy to forget just how strong a jazz group they were in the 1960s. This CD reissues one of their rarer sessions, augmenting the original seven-song LP program (highlighted by "Blues Up Tight," "Doin' That Thing," and "Milestones") with previously unissued versions of "'Round Midnight" and John Coltrane's "Some Other Blues." The Jazz Crusaders (comprised of tenor saxophonist Wilton Felder, trombonist Wayne Henderson, pianist Joe Sample, drummer Stix Hooper, and, during this period, bassist Leroy Vinnegar) are heard in prime form.
At the forefront of the new wave coming from the other side of Atlantic, Blue Shift could be seen as a major revelation ! Without any doubt, "Not The Future I Ordered" is one of the most interesting albums of the year 1997. This band plays a flashy and creative Progressive rock from the other side of the world. Their sound is huge, both on the acoustic guitar parts and on the whole sound. The Yes influence (From the glorious early days to the Trevor Rabin era) is noticeable without being a nuisance. The stunning Led Zeppelin cover ("Immigrant Song") proves, if needed, that the American group has lots of other talents to share. The whole reminds of the way Spock's Beard recently realised a successful and modern synthesis of the Seventies…