Before Gate was able to rebuild a following stateside, he frequently toured Europe. He recorded the contents of this inexorably swinging set in France in 1973 with all-star backing by keyboardists Milt Buckner and Jay McShann, saxists Arnett Cobb and Hal Singer, among others. Brown indulges his passion for Louis Jordan by ripping through "Ain't That Just like a Woman" and "Ain't Nobody Here but Us Chickens" and exhibits his immaculate fretwork on the torrid title item.
Clarence "Gatemouth" Brown was one of the most jazz-oriented of bluesmen, a colorful guitarist and a primitive but swinging fiddler. On this release he includes many instrumental sections in his performances including four all-out boppish jazz jams ("Digging New Ground," "C-Jam Blues," "The Peeper" and the stomping "We're Outta Here"). Brown's vocals, which feature consistently intelligent lyrics ("Better Off With The Blues" is particularly memorable), are part of the music rather than the entire show; he even gives his obscure backup horns chances to solo. The set is a particularly strong example of Gatemouth Brown's music with each of the 11 selections (except perhaps for "I Will Be Your Friend," a poppish vocal duet with Michelle Shocked) being well worth hearing.
A trio of great affection, already experienced in the past with another successful record job, this time Max Ionata, Clarence Penn and Reuben Rogers are working on an original record project using the formula of the trio.
This special collector's edition contains 29 remastered recordings by Clarence “Gatemouth” Brown, consisting of a selection of the magnicent early sides released between 1947 and 1960 on the Peacock and Aladdin record labels. Several of his most famous songs and enduring singles are featured on this quintessential CD, including “Dirty Work at the Crossroads,” “Midnight Hour,” “Just Before Dawn,” and “Okie Dokie Stomp,” among others. It is truly an indispensable set for any blues and R&B devotee.
When Clarence "Gatemouth" Brown walked into the studio in the early '80s to record Alright Again!, he had already had an illustrious career by most standards. Yet, much of Gate's best output had been behind him by more than two decades; with Alright Again!, he set out to prove he was still a relevant artist. The album won Brown a Grammy, and its follow-up, One More Mile, was a Grammy-nominated record as well. Texas Swing combines the two records, culling 17 tracks from the sessions…..
Though not one of the best known of the modern Texas blues guitarists, Clarence Green is regarded by his peers as one of the best. Green (not to be confused with the late Clarence "Candy" Green, a Texas blues pianist) did session work for Duke Records in the '60s with Junior Parker, Bobby Bland, and others, and performed with stars from Fats Domino to Johnny Nash. His own recordings have mostly been for small Houston labels. As Marcel Vos from Double Trouble Records wrote, "The Clarence Green of today plays a brand of Texas blues that is mixed with soul, jazz, and funk, not unlike the music of fellow Texans such as Roy Gaines, Cornell Dupree, and of course, his brother Cal Green."
Pete's first solo album for Gramavision was a tribute to Gil Evans, with whom Pete worked for 15 years. Much of the album is performed by an 8-piece all-star band - all alumni of the freewheeling Gil Evans Monday Night Orchestra.
When András Schiff completed the recording of all of Schubert's piano sonatas in the 1990s, Decca released a box set containing all of the individual discs from the series. For this 2011 reissue, Decca goes one step further and includes Schiff's recordings of the Impromptus, the Moments musicaux, and several other shorter works. Schubert's music, along with that of Bach and Mozart, is one of the cornerstones upon which Schiff built his reputation as a thoughtful and intelligent performer. Anyone looking for a complete set of the Schubert sonatas could do much worse than to choose this one by one of the foremost Schubert interpreters of his generation.