After prison, after first shocking, then disappointing, and perhaps ultimately (and grimly) amusing the jazz world with enough dope-related hijinks to fill a book (as in Straight Life), alto saxist Art Pepper made a triumphant mid-1970s comeback. This 1979 session is rich with the fruits of Pepper's return, a depth of playing that shows itself constantly throughout the New York Album's five tunes.
More and more music lovers are discovering the unique sound of a vinyl record. Stockfisch thought about whether it is possible just to make the sound creation factors of a vinyl record audible. A pressed record however, has many artifacts arising from the vinyl pressing i.e. distortion, rumble, groove noise, vertical and lateral aberrations, clicks, etc. and other artifacts that are detrimental to a good sound. Stockfisch calls their new production method 'DMM-CD'. With this solution, they can eradicate the aforementioned disadvantages of the pressed record - and yet still maintain the typical vinyl sound.
In No Sense? Nonsense! was the third full-length album by Art of Noise, recorded and released in 1987. By the time of its recording, the group had been reduced to a duo, with engineer Gary Langan leaving the previous year—Langan's mix engineering duties were taken over by Bob Kraushaar and Ted Hayton for this album, but the music was produced entirely by Anne Dudley and J.J. Jeczalik. The album saw the group expanding its sound to include rock and orchestral instrumentation, in addition to its trademark sampling. Many of the album's tracks are seamlessly segued; ambient soundscapes blend into percussive rhythms, dramatic buildups, melodic string arrangements, and vocal choruses and chants. The sounds of various forms of transport are a recurrent theme. Musical motifs from "Dragnet," "Galleons of Stone," and "Ode to Don Jose" recur throughout the album.
Reissue with the latest remastering. Features original cover artwork. 35 years after first officially forming The Jazz Messengers, drummer Art Blakey entered his final year still at it. Due to the many promising young players around at the time, Blakey expanded The Messengers from its usual quintet or sextet into a septet for this fine recording session. In addition to trumpeter Brian Lynch, pianist Geoff Keezer and bassist Essiet Okon Essiet, this version of The Messengers had two tenors (Javon Jackson and Dale Barlow) and a pair of alternating trombonists (Frank Lacy and Steve Davis).