Beginning with 2005's Identity, trumpeter Jeremy Pelt began exploring '70s and '80s funk and fusion sounds inspired by the works of such luminaries as Herbie Hancock and Miles Davis. He continued these funk and electronic explorations on such albums as 2007's Shock Value: Live at Smoke and 2013's Water and Earth. While Pelt has also split his time playing and recording more straight-ahead post-bop albums, his 2014 album, Face Forward, Jeremy, combines the best of his acoustic recordings with the electronic-jazz hybrid sound of Water and Earth. Here, Pelt is joined by his longtime ensemble featuring pianist/keyboardist David Bryant, saxophonist Roxy Coss, bassist Chris Smith, and drummer Dana Hawkins.
Original arrangements of Gershwin tunes are rare these days, but that's what you'll hear in this album by Kiri Te Kanawa. Granted, the arrangements sound somewhat dated according to 21st century tastes, but that's what makes them fascinating. These were like nothing anyone else was writing when the George and Ira first brought them to life. Kiri uses a different, somewhat breathier voice than you might be used to on her classical albums, probably not the type of voice Gershwin had in mind, but I think it generally works pretty well.By Dennis Brightwell
With their unique sound of blazing bagpipes, mighty drums and the power of a rock band, Celtica Pipes Rock is one of the most popular bands playing Celtic music in Germany. 'Legends and Visions' combines the traditional sound of the bagpipes with rock music as the band plays a set of their own compositions. Three cover songs complete the album: a U2 medley, a heavy rocking version of "Whiskey in the Jar" and a live version of "Don't Stop Believing", recorded during a USA tour.
Reissue with the latest 2014 DSD remastering. Comes with liner notes. Louis van Dijk, also spelled Louis van Dyke (born 27 November 1941 in Amsterdam, North Holland), is a Dutch pianist. He was educated as a classical piano-player and like so many other jazz musicans he became fascinated by the instrument in church. His father was sexton in the Prinsessekerk in Amsterdam. He studied at the Amsterdam Conservatory and became interested in jazz. For young jazz musicians the Loosdrecht festival was a usefull leg to success.
Since the 70s, trumpeter Tom Harrell has branded a prolific stature within the annals of modern jazz as an artisan who possesses an enviable technique marked by his exquisite phrasings, silky tone and fluid progressions. Even during pieces constructed on gutsy or penetrating ensemble work, Harrell has an uncanny way of dishing out ferocious licks with heartfelt overtones and a penchant for eloquently rebuilding themes and regenerating numerous slants on a given melody. Here, the trumpeter lines up with celebrated and eternally versatile bandleader, saxophonist Mark Turner (Kurt Rosenwinkel, OAM Trio).