Cardboard sleeve reissue features remastering in 2013 and the high-fidelity Blu-spec CD2 format (compatible with standard CD players). Includes bonus track(s) (subject to change). A welcome reissue of music first recorded in 1971 and 1972, shortly before Dean left the popular British jazz-rock group the Soft Machine, which he had officially joined only a short time earlier, in late 1969. On this recording, Dean plays alto sax, saxello and electric piano and is aided by a group of musicians which includes two additional Soft Machine members, Mike Ratledge on organ and electric piano and Roy Babbington on string bass.
West coast cool purveyors Chet Baker (trumpet) and Bud Shank team up to provide the incidental soundtrack to The James Dean Story (1958). Granted, the biopic was presumably made to cash in on the actor's untimely demise, but movie buffs also recognize it as one of director Robert Altman's earliest features. The score was written by Leith Stevens, who had previously worked on Private Hell 36 (1954), The Wild One (1954), and the Oscar-winning sci-fi classic Destination Moon (1950). Those credentials may have gotten Stevens the gig, but his contributions remain somewhat of a double-edged sword.
Dean Martin was an Italian-American singer, actor, comedian, and film producer. One of the most popular and enduring American entertainers of the mid-20th century, Martin was nicknamed the "King of Cool" for his seemingly effortless charisma and self-assurance. He and Jerry Lewis were partners in the immensely popular comedy team Martin and Lewis. He was a member of the "Rat Pack" and a star in concert stages, nightclubs, recordings, motion pictures, and television. He was the host of the television variety program The Dean Martin Show (1965–1974) and The Dean Martin Celebrity Roast (1974–1985). Martin's relaxed, warbling crooning voice earned him dozens of hit singles including his signature songs "Memories Are Made of This", "That's Amore", "Everybody Loves Somebody", "You're Nobody till Somebody Loves You", "Sway", "Volare", and "Ain't That a Kick in the Head?".
Dean Evenson is one of the true visionaries of the New Age/Ambient musical genre. He plays several instruments including the flute, percussion, synthesizer and keyboards. His music is generally sounds of nature combined with flute melodies and other instruments for ambient and meditative purposes. He is a prolific musician and composer, an entrepreneur, media pioneer and the co-founder of Billboard-charting independent music label, Soundings of the Planet. At every turn, Evenson’s life has taken bold steps in new and exciting directions. The success and pioneering nature of his creative work attest to a dynamic personality and a life-long commitment to the positive evolution of life on this planet in relationship with the natural and spiritual world. Evenson’s story is that of an artist, technological innovator, broad-minded thinker - a modern-day Renaissance man…
Brett Dean is not shy about revealing what his music is ‘about’. Whether inspired by certain individuals (as in Epitaphs), or by an ecological or human disaster (as in his String Quartet No. 1, on the now all too topical plight of refugees), Dean’s works are usually – perhaps invariably – driven by extra-musical narratives. Rather than tease out any innate structural puzzles or tensions, his music typically falls into short little dramatic narratives – no movement on this disc lasts as long as eight minutes, many of them rather less than five. The most obviously successful work here is Quartet No. 2, ‘And once I played Ophelia’, effectively a dramatic scena. Its soprano soloist is no mere extra voice (as in Schoenberg’s Second Quartet) but the leading protagonist. Allison Bell’s genuinely affecting performance is backed by the Doric Quartet’s expressionist scampering and sustained harmonies, the strings occasionally coming to the fore in the manner of a Schumann-style song postlude.
Guitarist and composer Dean Brown has always done things his way. Nowhere is that in greater evidence than on ROLAJAFUFU, his fifth album as a leader. The title is a playful acronym that encompasses rock-latin- jazz-funk-fusion, the universes Brown explores on this diverse, kinetic recording. Brown’s fiercely independent streak is also exemplified by the fact that this album was funded by his denizens of fans worldwide via PledgeMusic.
This documentary, which was undertaken soon after James Dean's death, looks at Dean's life through the use of still photographs with narration, and interviews with many of the people involved in his short life. Interviewees include the aunt and uncle who raised him after his mother's death (when James was 9), his fraternal grandparents, a cabdriver friend in New York City, and the owner of his favorite restaurant in Los Angeles. James's father, who was alive when the film was made, does not get a single mention.
Playboy called him “the coolest man who ever lived.” Elvis Presley worshipped him. “He was the coolest dude I’d ever seen, period,” recalled Stevie Van Zandt, adding, “He wasn’t just great at everything he did. To me, he was perfect.”…