Alpha Mike Foxtrot, is a 4-CD box-set of rare studio and live recordings collected from Wilco's extensive archives spanning the acclaimed Chicago band's 20-year career. Rolling Stone calls Alpha Mike Foxtrot "a comprehensive document of a great band with endless secrets to reveal" and the Austin Chronicle dubs it "a rousing release for fans." Produced by Grammy-nominated producer Cheryl Pawelski, co-founder of Omnivore Recordings, whose credits include Big Star's Keep an Eye on the Sky, The Band's A Musical History and Townes Van Zandt's Sunshine Boy: The Unheard Studio Sessions and Demos 1971 1972, Alpha Mike Foxtrot features 64 pages of liner notes that include track-by-track recollections from Wilco founder Jeff Tweedy, notes by band members Nels Cline and John Stirratt, and reflections from members of Wilco's extended professional family. The booklet also showcases dozens of archival and never-before-seen photos from a wide array of photographers chronicling all phases of the band's career.
Many highlights of Scofield's work from his late 1980s-early 1990s tenure on Blue Note are included in this collection, which features cameos from Pat Metheny, Joe Lovano, Randy Brecker, and Bill Frisell among many other all stars. Also included is material from Hand Jive, Scofield's collaboration with Eddie Harris, and an unreleased take on Wayne Shorter's "Tom Thumb".
Gil Evans released two records on World Pacific in 1958 and 1959. They were among his earliest dates as a leader. Gil Evans & Ten was issued by Prestige in 1957, but these dates stand out more. New Bottle, Old Wine was the first of the pair and the band included four trumpets, a trio of trombones, French horn (played by Julius Watkins), a pair of tubas, Cannonball Adderley as the lone saxophonist, and a rhythm section that included either Philly Joe Jones or Art Blakey on drums, Paul Chambers on bass, and Chuck Wayne on guitar.
Terence Blanchard's 2013 return to Blue Note, Magnetic, built upon his decades-long history of post-bop dynamism with a forward-thinking approach that blended edgy, modal improvisation with a sophisticated, genre-crossing compositional style. It was a concept he had been investigating on his previous efforts Bounce (2003), Flow (2005), and Choices (2009), and, though it had been years since Blanchard was considered a young lion, the eclecticism of the album matched the work of many of his younger contemporaries like trumpeter Christian Scott and pianist Robert Glasper, the latter of whom even played on Bounce.