Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. Featuring the work of obscure composer/pianist Todd Cochrane, vibraphonist Bobby Hutcherson's 1971 album Head On is a highly cerebral and atmospheric affair that is somewhat different than his other equally experimental '70s work. Although the album does feature more of the avant-garde jazz that Hutcherson was exploring during this period, Cochrane's material is heavily influenced by contemporary classical music, and accordingly Head On is more of an exercise in reflective, layered jazz than rambunctious freebop – though it does offer some of that, too.
Reissue. Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). Bobby Hutcherson's second quartet session, Oblique, shares both pianist Herbie Hancock and drummer Joe Chambers with his first, Happenings (bassist Albert Stinson is a newcomer). However, the approach is somewhat different this time around. For starters, there's less emphasis on Hutcherson originals; he contributes only three of the six pieces, with one from Hancock and two from the typically free-thinking Chambers. And compared to the relatively simple compositions and reflective soloing on Happenings, Oblique is often more complex in its post-bop style and more emotionally direct (despite what the title may suggest).
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. A sweet 70s set from the ultra-hip rhythm duo of bassist John Lee and drummer Gerry Brown – working here in a European setting with loads of great reed work to support the "bamboo" vibe of the title! Flute player Chris Hinze blows both bamboo and regular flute – and the feel of the set is like some of his excellent fusion dates from the same time – but the record also has lots of great work from Gary Bartz on alto and soprano sax, plus some keyboards from Hubert Eaves and Jasper Van'T Hof – two very different players who balance out the mood nicely. Some tracks are full-on fusion, but they're offset by mellower, more introspective passages – of the sort that really let the reed players come out strongly – and titles include "Jua", "Rise On", "Who Can See The Shadow Of The Moon", "Infinite Jones", and "Deliverance".
Sawyer Brown is an American country music band founded in 1981 in Apopka, Florida, by five members of country pop singer Don King's road band: Bobby Randall (guitar) and Jim Scholten (bass guitar), both from Midland, Michigan; Joe Smyth (drums), Gregg "Hobie" Hubbard (keyboards), and Mark Miller (lead vocals). After King retired in 1981, the five members decided to form a band, first choosing the name Savanna before switching to Sawyer Brown, also the name of a road near where they practiced. The Boys Are Back is a sixth studio album released by the band Sawyer Brown. Released in 1989 on Capitol Records, it features three singles: "The Race Is On" (a cover of a George Jones song), "I Did It for Love", and "Puttin' the Dark Back into the Night".
Most notably the 90s, when Ministry of Sound was born and owned the club sound of that decade. As anyone from the 90’s will testify, the nights were longer, the fashion was cooler and the music was even better. With this in mind, it will come as no surprise that Ministry and bringing back the nostalgia with one of our most popular compilation series to date.
This may be the best series of rockabilly compilations I've run across, and I've blown a lot of money on some mediocre crap. You get a ton of solid senders from fairly obscure names that run the gamut from hillbilly to rockin' boppers.
After springing for three double-LP songbook albums in three years devoted to Cole Porter, Noël Coward, and George Gershwin, Atlantic Records tracked Bobby Short to his lair for a fourth two-disc collection in December 1973, setting up recording equipment in the tiny confines of the Cafe Carlyle where Short had maintained a permanent residency since 1968. There, over two nights, the tapes picked up a typical selection of standards by Porter, Harold Arlen, Vernon Duke, and other interwar songwriting masters, plus some more recent material, played by Short's piano trio, which also featured Beverly Peer on bass and Richard Sheridan on drums…