While Bill Frisell has released plenty of albums under his own name, this is his first true solo album – the first on which he plays all of the instruments himself. These include electric and acoustic guitar, six-string banjo, and bass, as well as the occasional looped sample. To call the music he creates on this album "introspective" would be something of an understatement. This won't come as a complete surprise to his fans – there has always been a gentle and meditative quality to his music, and even when he's gotten wild with his trio or with downtown pals like John Zorn or Vernon Reid, those moments of abrasive abandon have always seemed like detours from his more natural, but no less inventive and interesting, sweetness and good humor.
Rolling Stones: Live at the Max brings the 1991 IMAX film of one of the Stones' performances from the Steel Wheels tour to home video…
There are a whole lotta musicians who would kill for a resumé like that of peripatetic drummer Ginger Baker: member of Cream and Blind Faith, bandmate of Fela Kuti, survivor of a drum showdown with Elvin Jones, olive farmer, polo player, born-again jazzer (his '95 trio recording, Going Back Home, certified his abilities).
As the story goes, Brigid Polk was a longtime friend of the band and one night decided to bring a cassette recorder with her to record their set. This is the result. It's lo-fi, it's mono, but it still sounds like a decent bootleg (even though it is an official release). By the time this was released, Lou Reed had left the band and Velvet Underground was nothing like they were in the days of the peeling banana and locking yourself in a box as a gift. A Deluxe Edition was released by Rhino a few years ago, but this is the original album on Cotillion/Atlantic, as is.
Cardboard sleeve (mini LP) reissue from Bill Evans featuring the high-fidelity SHM-CD format (compatible with standard CD players) and the latest 24bit/96kHz digital remastering. Part of a 5-album Bill Evans SHM-CD cardboard sleeve reissue series featuring albums "I Will Say Goodbye," "Alone (Again)," "Intuition," "Re: Person I Knew," and "Jazzhouse." The Village Vanguard and Bill Evans have been linked in jazz history since the pianist's first trio recorded Sunday at the Village Vanguard and Waltz for Debby at the club in 1961. Evans returned often, and was later asked by owner Max Gordon to select the house piano. These eight tracks were recorded during the 1974 visit that also produced Since We Met, and offer an accurate sampling of his club sets of the time–a mix of old favorites and newer material, including five Evans originals and a budding interpretation of a Herbie Hancock tune.