Three Blind Mice Blu-spec CD reissue series! Limited paper sleeve edition! Pianist Imada Masaru was 42 years old when he recorded this album in 1975. His adventurous spirit led him to use the electric piano for the first time in a recording, and thanks to his musicianship, he made it sound like he'd been playing the instrument for years. The program opens with the title track, a sophisticated urban funk. Guitarist Kazumi Watanabe plays a big role here. It is followed by a more intricate, fusion-like "Straight Flash."
Touted as a personally curated compilation by Paul McCartney, Pure McCartney is the first McCartney compilation since 2001's Wingspan: Hits and History. A full 15 years separated this and Wingspan, longer than the span between that double-disc set and 1987's All the Best, but the 2001 set also stopped cold in 1984, leaving over 30 years of solo McCartney recordings uncompiled on hits collections. In both its standard two-CD and deluxe four-disc incarnations, Pure McCartney attempts to rectify this, going so far as to include "Hope for the Future," his song for the 2014 video game Destiny. A fair chunk of the compilation rests upon songs heard on Wings Greatest, All the Best, and Wingspan – "Jet," "Uncle Albert/Admiral Halsey," "Another Day," "Mull of Kintyre," "Let Em In," "Band on the Run"…
After two LPs with little or no energy, Sade demonstrated some intensity and fire on her third release. Whether that was just an attempt to change the pace a bit or a genuine new direction, she had more animation in her delivery on such songs as "Haunt Me," "Give It Up," and the hit "Paradise." Not that she was suddenly singing in a soulful or bluesy manner; rather, Sade's dry and introspective tone now had a little more edge, and the lyrics were ironic as well as reflective. This was her third consecutive multi-platinum album, and it matched the two-million-plus sales level of her debut.
A bit funky, a bit bluesy – and one of the only 70s albums we've ever seen from guitarist John White – a player with a feel that's a bit more laidback and loose than some of his contemporaries on the Mainstream label! The style here is somewhere between work by David T Walker and Freddie Robinson – some of the rougher edges of the latter, but more of the focus of the former – set up nicely in some west coast backings that feature work from Merl Saunders on organ, Hadley Caliman on tenor, Sonny Red on alto, and Phil Wilson on drums. There's an edge to some of the best tracks here that you wouldn't expect – especially in comparison to other Mainstream Records sessions – and titles include "Granite and Concrete", "Help Us Out", "Right Off", "City", "Tried To Touch", and "Number 3."
The studio and live recording sessions that Thelonious Monk cut during his six-year stay at the Riverside label are compiled over the 15 discs in the Complete Riverside Recordings. This middle era – between his early sides for Prestige and the final ones for Columbia – is generally considered Monk's most ingenious and creative period. The sessions are presented in chronological order, accurately charting the progression and diversions of one of the most genuinely enigmatic figures in popular music. The Complete Riverside Recordings explores Monk's genius with a certain degree of real-time analysis that simply listening to each of the individual albums from this era lacks.
The Real Me is an album by American singer Patti Austin released in 1988, and recorded for the Qwest label. The album reached #7 on Billboard's Jazz chart.
Features 24 bit remastering and comes with a mini-description. A standout set from Shorty – tightly arranged numbers performed by a quartet that includes Jimmy Giuffre, Pete Jolly, Curtis Counce, and Shelly Manne – all working with Shorty in perfect west coast form! Despite the length of the tunes, the overall feel is similar to Rogers' excellent Wherever The Five Winds Blow album for RCA – and makes the record a great set, done without any gimmicks or tricks – and enough of the modern touch still left from Rogers' first few years on record. Titles include "Martians Go Home", "Trickleydidlier", "Not Really The Blues", and "Michele's Meditation".
Recorded in 1971, but unreleased in the U.S. until 1999, B.B. King's Live in Japan deserves high marks for exuberance alone. Had Live in Cook County Jail not just jumped into the charts, this live album might have been released long ago. The recording opens with a swelling of enthusiastic cheers, as King launches into an uptempo "Every Day I Have the Blues." There are plenty of other classics here as well, including "How Blue Can You Get?", "Sweet Sixteen," and "The Thrill Is Gone" (which elicits another round of cheering from the opening notes). Live in Japan may not have the long-standing reputation of Cook County Jail or Live at the Regal, but it's an excellent album, with a decidedly different feel from these two classics. King's obvious enthusiasm for his music and for his audience is infectious, and you can hear the sheer joy of it in every note. And, for those who don't really feel that they need additional versions of well-known songs, let it be mentioned that Live in Japan contains King's only live rendition of "Hummingbird," not to mention a couple of unique jams ("Japanese Boogie," "Jamming at Sankei Hall," and "Hikari #88").
Secret Symphony is the fifth studio album by singer-songwriter Katie Melua, and was released on 5 March 2012. The album was recorded at Air Studios in London in collaboration with orchestrator and conductor Mike Batt. Melua said in a statement: "This album was going to be my 'singer's album'. I had always wanted to do this one day; singing other people's songs brings something out of you and your voice that isn't perhaps where you would have gone vocally with your own material." She added: "It stretches you. As it happened Mike and I did write a couple of new ones, but the general idea was to find songs by great writers such as Ron Sexsmith ('Gold In Them Hills')…