tag:blogger.com,1999:blog-72492858680098447602012-01-28T05:37:11.252-08:00music on the rocksgormenghastnoreply@blogger.comBlogger10701100tag:blogger.com,1999:blog-7249285868009844760.post-50319353085614777352012-01-28T03:00:00.000-08:002012-01-28T03:00:02.642-08:00MX 80 Sound - Out of the Tunnel<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-i6J-GX1-O4s/TxugG2cY7JI/AAAAAAAAFUY/K8bAQPxD4nQ/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="www.musicontherocks.tk" border="0" alt="www.musicontherocks.tk" align="right" src="http://lh3.ggpht.com/-BZILyLgEFTw/TxugH_GI-YI/AAAAAAAAFUc/60dhLrCnfP0/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Shrunk down to a four-person one-drummer lineup, MX-80 continued to bring the noise -- and very well at that -- with Out of the Tunnel. The casual please-nobody-but-themselves approach from earlier releases continued with little change on the nine-song effort, further securing the band's identity on its own, resisting pretty much any label that could be thrown at it. Poppy but not power pop, aggro-metal without indulging in the wank fantasies prone to that style, deadpan and humorous without being a put-on, MX-80 just plain shone here, with only the slightly murky mix preventing Out of the Tunnel from achieving perfection. Anderson's spiraling, twisting, and turning guitar riffs are equally matched by the stop-and-shift-on-a-dime Sophiea/Mahoney rhythm combo, transforming songs like "It's Not My Fault" and the suddenly heroic "Someday You'll Be King" into compact, thrashing monsters. "Follow That Car" just seems to get more tense and wired as it goes, encapsulating the nervousness of new wave better than most groups who claimed the name as a tag, while Anderson's dip into technically oriented soloing on "I Walk Among Them" is both fun and gripping. Stim, as before, is the perfect wild card, as apt to wail or zone on sax as to suddenly talk/sing across the beat, odd cultural references and rambles turned into miniature stories. (Sometimes, he can play it straight -- his soothing chant vocals on "Frankie I'm Sorry" offset the increasingly wild music.) His sax turn on "Fender Bender," helping nail down the core looped melody with the storming chug of Sophiea and Mahoney while Anderson completely rocks out, is one highlight of many. Out of the Tunnel was later combined with the follow-up Crowd Control to form the Out of Control compilation.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock <br>Styles - New Wave<br>Time - 34:33<br>Format - mp3@224 Kbps<br>Size - 56 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. It's Not My Fault<br>02. Follow That Car<br>03. Fender Bender<br>04. I Walk Among Them<br>05. Someday You'll Be King<br>06. Frankie I'm Sorry<br>07. Gary and Priscilla<br>08. Man in a Box<br>09. Metro Teens</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Bruce Anderson (guitar)<br>Rich Stim (guitar, keyboards)<br>Dale Sophiea (bass)<br>Dave Mahoney (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Ralph Records, 1980</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/16639708884f1b9f9ee269a">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-5031935308561477735?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-63188186825098926982012-01-27T03:00:00.000-08:002012-01-27T03:00:00.799-08:00Tina Brooks - True Blue<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-H_1k9bkc0Ek/Txueh6r_ddI/AAAAAAAAFUI/BECsSsbvjZI/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-GRsOclEtvLs/TxueitUSbmI/AAAAAAAAFUM/pd8hxSbM2iE/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Tina Brooks' star burned with intense brightness before disappearing in the same tragic manner of too many other bop players of the time. Many jazz fans missed Tina Brooks' recordings, the best of which were extraordinary by any measure. A soulful hard bop tenor-saxophonist with a sound of his own, Brooks (1932-74) had a brief life. Most of his better known recordings as a leader and sideman took place during a four year period from 1958-61. Unsung at the time, Brooks is now considered a true giant of the art. Brooks' passionate and full sound and forward-looking style, along with his exceptional compositional gifts, combined to make him a powerful force. True Blue has become one of the most sought-after Blue Notes of all time. True Blue, along with the album Back To The Tracks, contains most of Tina Brooks finest moments on record. Recorded in June of 1960, True Blue showcases Brooks along with the young firebrand trumpeter Freddie Hubbard in a set of highly inventive originals. Driven by an all-star rhythm section, True Blue is exhibit No. 1 for proof of Tina Brooks' majestic sound and soulful writing prowess. For many aficionados of the Blue Note label, Tina Brooks' True Blue is the very essence of the Blue Note sound and feel.Brooks is teamed with the young trumpeter Freddie Hubbard (on one of his earliest sessions), pianist Duke Jordan, bassist Sam Jones, and drummer Art Taylor for a set dominated by Brooks' originals. None of the themes may be all that memorable ("Nothing Ever Changes My Love for You" comes the closest), but the hard bop solos are consistently excellent.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Hard Bop, Saxophone Jazz<br>Time - 37:45<br>Format - mp3@192 Kbps<br>Size - 52 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Good Old Soul<br>02. Up Tight's Creek<br>03. Theme for Doris<br>04. True Blue<br>05. Miss Hazel<br>06. Nothing Ever Changes My Love for You</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Tina Brooks (tenor sax)<br>Freddie Hubbard (trumpet)<br>Sam Jones (bass)<br>Duke Jordan (piano)<br>Art Taylor (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Blue Note, 1960</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/900633924f1b9d4a49e4b">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-6318818682509892698?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-22410936518631223682012-01-26T03:00:00.000-08:002012-01-26T03:00:00.223-08:00Chuck Berry - One Dozen Berrys<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-XtgqC-ntD04/Txubywih_fI/AAAAAAAAFT4/npJ8ZPxZUnA/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="www.musicontherocks.tk" border="0" alt="www.musicontherocks.tk" align="right" src="http://lh4.ggpht.com/-LBw1uAy8rPo/TxubzhamsSI/AAAAAAAAFT8/CLS1l2XZ19k/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Chuck Berry's second album is ever so slightly more sophisticated than its predecessor. Although One Dozen Berrys is hooked around a pair of hit singles, "Sweet Little Sixteen" and "Rock & Roll Music," most of what's here doesn't really sound too much like either of those songs -- rather, the other ten tracks each constitute a close-up look at some individual component of the types of music that goes into brewing up the Chuck Berry sound. Thus, the slow instrumental "Blue Feeling" is a look at the blues sound that Berry initially proposed to bring to Chess Records; "How You've Changed" presents him in a slow ballad, singing in a manner closer to Nat "King" Cole than to any rock & roller of the era; and "Lajaunda" shows off his love of Latin music. "Rocking at the Philharmonic" is a rippling guitar/piano workout, a compendium of the sounds that lay beneath those hit singles, and a killer showcase not only for Berry, but also for Lafayette Leake at the ivories, and also a decent showcase for Willie Dixon's bass playing. "Oh Baby Doll" is a return to the beat of "Maybellene," this time carrying a lyric that's more sensual (in a bluesy sense) than rollicking fun, though it comes out that way amid the pounding beat and Berry's crunchy, angular guitar solo. "Guitar Boogie" is yet another guitar instrumental, one of four on this album, leading one to wonder if he was running short of first-rate lyrics in mid-1957, amid his frantic pace of recording and touring -- no matter, for the piece is a killer track, a pumping, soaring working out for Berry's guitar that had some of the most impressive pyrotechnics that one was likely to hear in 1957; what's more, the track was good enough to form the template for Jeff Beck's more ornate adaptation, "Jeff's Boogie," from the 1966 album Roger the Engineer (aka The Yardbirds aka Over Under Sideways Down). The best of the album's tracks is easily "Reelin' & Rockin'," which is also just about the dirtiest song that Berry released in all of the 1950s (and for many years after that), essentially a blues-boogie recasting, on a more overt level, of the extended feats of sexual intercourse alluded to in Bill Haley's "Rock Around the Clock." The one totally weird track here is "Low Feeling," which is nothing but "Blue Feeling" doctored in the studio by Leonard and Phil Chess, slowed down to half speed and edited to create a 12th track -- doing that to the original was bad enough, but sticking it on the same LP with the original was downright bizarre. And the album's closer, "It Don't Take But a Few Minutes," is a reminder of just how much Berry owed to country music for his sound, and explains, to anyone coming in late, how he could have been mistaken for a white hillbilly in those early days, based on the sound of this song and "Maybelline."</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Rock & Roll<br>Time - 34:36<br>Format - mp3@320 Kbps<br>Size - 48 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Sweet Little Sixteen<br>02. Blue Feeling<br>03. La Jaunda<br>04. Rockin' at the Philharmonic<br>05. Oh Baby Doll<br>06. Guitar Boogie<br>07. Reelin' and Rockin'<br>08. In-Go<br>09. Rock & Roll Music<br>10. How You've Changed<br>11. Low Feeling<br>12. It Don't Take But a Few Minutes</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Chuck Berry (vocals, guitar)<br>Lafayette Leake, Johnnie Johnson (piano)<br>Hubert Sumlin (guitar)<br>Willie Dixon (bass)<br>Fred Below, Ebbie Hardy (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Chess, 1958</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/1744086294f1b9b252e635">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-2241093651863122368?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-85588503731940063382012-01-25T03:00:00.000-08:002012-01-25T03:00:07.702-08:00High Tide<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-jeA0HdX6vQg/TxuZst1TJvI/AAAAAAAAFTo/tgAd8ANMiIc/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-eAobGHlIczI/TxuZtQj4IHI/AAAAAAAAFTs/RGn25dvYJH8/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>In 1969, Sea Shanties established High Tide as one of Britain's heaviest bands and the choice of George Chkiantz (who had previously worked with Jimi Hendrix and Led Zeppelin) as co-producer for their second album seemed to signal the group's intention to continue in the same direction. In comparison with their hefty debut, however, the self-titled follow-up is a relatively subdued affair. The interplay of guitarist Tony Hill and violinist Simon House is still very much at the core of High Tide's distinctive hybrid of psychedelia, prog, and hard rock, but while Hill lays down his characteristically intricate, searing guitar lines, he forgoes the sort of weighty, molten riffage that made Sea Shanties such a behemoth. Without that overall sonic density, this album fails to engage listeners as readily as its predecessor. On the record's most psychedelic number, "Blankman Cries Again," Hill and House's repetitive grooves become more monotonous than hypnotic over the track's eight and a half minutes. Marginally better is the four-part, quarter-hour "Saneonymous," which breaks up the lengthy stretches of dueling guitar and violin with more conventional song-based folk-rock. Nevertheless, the standout is "The Joke," a prog-flavored number that doesn't outstay its welcome. This is largely thanks to a greater diversity in the song's arrangement, which incorporates varied tempos, stronger melodic dimensions (particularly in Hill's vocals and House's less frantic, pastoral violin), some Fripp-esque noodling, and a trippy guitar interlude that evokes the Grateful Dead's "Dark Star." However, alongside Sea Shanties, this unimaginatively titled, three-track, 32-minute album finds High Tide at a disappointing low ebb, as if ideas and energy were already drying up. Indeed, this would be the band's last official studio album during its lifetime.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Prog Rock, Progressive Folk<br>Time - 32:34<br>Format - mp3@320 Kbps<br>Size - 74 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Blankman Cries Again<br>02. The Joke<br>03. Saneonymous</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Tony Hill (guitar, acoustic guitar, organ, vocals)<br>Simon House (organ, piano, electric violin)<br>Peter Pavli (bass, guitar)<br>Roger Hadden (drums, piano, pipe organ)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Repertoire, 1970</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/8058962464f1b998691ab6">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-8558850373194006338?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-15244024888097657292012-01-24T03:00:00.000-08:002012-01-24T03:00:06.980-08:00Gerry Mulligan & Shorty Rogers - Modern Sounds<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-lUi9aajqSvc/TxqErjPKzFI/AAAAAAAAFTY/tlav-GCgjnU/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-yHC408qtLOo/TxqEsAlQAnI/AAAAAAAAFTc/g3g37KYABHc/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>On the heels of Miles Davis' style-defining release Birth of the Cool, Shorty Rogers and Gerry Mulligan chimed in with their own important cool jazz records, placing the music in its future West Coast home in the process. Modern Sounds brings together some of these seminal recordings, including a 1951 set by Rogers and His Giants and a 1953 date by Mulligan and His Tennette. Rogers' outfit includes then future West Coast stars like alto saxophonist Art Pepper, tenor saxophonist Jimmy Giuffre, pianist Hampton Hawes, and drummer Shelley Manne, among others. Each soloist gets plenty of room to stretch out on a set including four Rogers originals; Pepper particularly shines on a fine rendition "Over the Rainbow," while Giuffre deserves special mention for his sparkling original "Four Mothers." Save for Vernon Duke's "Taking a Chance on Love," the second half of this collection includes all Mulligan originals. Similar to Rogers' fine work, these cuts bounce along on airy and subtly complex arrangements. Joining Mulligan are standout soloists like trumpeters Chet Baker and Pete Candoli, alto saxophonist Bud Shank, and drummer Chico Hamilton. Highlights include "Westwood Walk," "A Ballad," and "Rocker" (this last cut having originally been cut as part of the Birth of the Cool sessions). A very enjoyable set taking in the beginnings of West Coast jazz.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Cool<br>Time - 34:41<br>Format - mp3@320 Kbps<br>Size - 80 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Popo<br>02. Didi<br>03. Four Mothers<br>04. Over the Rainbow<br>05. Apropos<br>06. Sam and the Lady<br>07. Westwood Walk<br>08. A Ballad<br>09. Walking Shoes<br>10. Rocker<br>11. Taking a Chance on Love<br>12. Simbah</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Gerry Mulligan (baritone sax, piano)<br>Chet Baker, Pete Candoli, Shorty Rogers (trumpet)<br>Art Pepper (alto sax)<br>Don Davidson (baritone sax)<br>John Graas (flugelhorn)<br>Hampton Hawes (piano)<br>Jimmy Giuffre (tenor sax)<br>Gene Englund, Bob Enevoldsen (trombone)<br>Don Bagley (bass)<br>Chico Hamilton, Larry Bunker, Shelly Manne (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Capitol, 1964</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/16574176054f1a83b770c73">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-1524402488809765729?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-20190128353712940972012-01-23T03:00:00.000-08:002012-01-23T03:00:12.224-08:00Peter Green Splinter Group - Me & the Devil<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-6PdTMRwolOo/Txp2M7RkZrI/AAAAAAAAFTI/Lk8qq_pvPKU/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-right-width: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-5eBtuQEEIx8/Txp2NonkgAI/AAAAAAAAFTM/QpUbsmhlSYM/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>While it's no secret that guitar king Peter Green is obsessed with Robert Johnson, having done two previous recordings of his music, this box is in essence something else. There are three CDs included here, one of which is Hot Foot Powder, the first album by the Peter Green Splinter Group, which included guest performances from the likes of Otis Rush, Honeyboy Edwards, Dr. John, Hubert Sumlin, and Joe Louis Walker, among others. The second disc by the band, The Robert Johnson Songbook, featured mainly the Green band, though Free/Bad Company vocalist Paul Rodgers guests on a tune. Fans already have these without a doubt, so Snapper Music -- with Green's blessing -- assembled a 28-cut collection of original Robert Johnson recordings chosen by Green. Adding them all together in a box with a handsome booklet for a decent price makes it all worthwhile. Fans may not want to purchase the same two records again, but getting the bonus third disc and the handsome package does have its allure.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Country Blues, Delta Blues, Chicago Blues, Regional Blues, Slide Guitar Blues<br>Time - 174:49<br>Format - mp3@320 Kbps<br>Size - 431 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc I: Hotfoot Powder<br>01. I' m A Steady Rollin' Man<br>02. From Four Until Late<br>03. Dead Shrimp Blues<br>04. Little Queen Of Spades<br>05. They're Red Hot<br>06. Preachin' Blues<br>07. Hell Hound On My Trail<br>08. Traveling Riverside Blues<br>09. Malted Milk<br>10. Milkcow' s Calf Blues<br>11. Drunken Hearted Man<br>12. Cross Road Blues<br>13. Come On In My Kitchen</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc II: The Robert Johnson Songbook<br>01. When You Got A Good Friend<br>02. 32-20 Blues<br>03. Phonograph Blues<br>04. Last Fair Deal Gone Down<br>05. Stop Breakin' Down Blues<br>06. Terraplane Blues<br>07. Walkin' Blues<br>08. Love In Vain Blues<br>09. Ramblin' On My Mind<br>10. Stones In My Passway<br>11. Me And The Devil Blues<br>12. Honeymoon Blues<br>13. Kind Hearted Woman Blues<br>14. I Believe I'll Dust My Broom<br>15. If I Had Possession Over Judgement Day<br>16. Sweet Home Chicago</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc III: Original Recordings<br>01. I'm A Steady Rollin' Man<br>02. From Four Until Late<br>03. Dead Shrimp Blues<br>04. Little Queen Of Spades<br>05. They're Red Hot<br>06. Preachin' Blues<br>07. Hell Hound On My Trail<br>08. Traveling Riverside Blues<br>09. Malted Milk<br>10. Milkcow's Calf Blues<br>11. Drunken Hearted Man<br>12. Cross Road Blues<br>13. Come On In My Kitchen<br>14. When You Got A Good Friend<br>15. 32-20 Blues<br>16. Phonograph Blues<br>17. Last Fair Deal Gone Down<br>18. Stop Breakin' Down Blues<br>19. Terraplane Blues<br>20. Walkin' Blues<br>21. Love In Vain Blues<br>22. Ramblin' On My Mind<br>23. Stones In My Passway<br>24. Me And The Devil Blues<br>25. Honeymoon Blues<br>26. Kind Hearted Woman Blues<br>27. I Believe I'll Dust My Broom<br>28. If I Had Possession Over Judgement Day<br>29. Sweet Home Chicago</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Peter Green, Robert Johnson, Nigel Watson (guitar, vocals)<br>Roger Cotton (guitar, piano)<br>Dr. John (piano)<br>Buddy Guy, David Honeyboy Edwards (guitar)<br>Peter Stroud, Neil Murray (bass, guitar)<br>Owen Parker (bass)<br>Paul Rodgers (vocals)<br>Hubert Sumlin, Otis Rush, Joe Louis Walker (guitar)<br>Danny Saxon (percussion)<br>Linda Lewis, Milton Brown, Ray Shell (background vocals)<br>Larry Tolfree (drums, percussion)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Snapper, 2001</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/11798600154f1a7573b1084">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-2019012835371294097?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-88791506603352874422012-01-22T03:00:00.000-08:002012-01-22T03:00:00.158-08:00Lee Konitz - Subconscious Lee<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-uB7s60hvDJo/TxpeakGO0-I/AAAAAAAAFS4/tG2ncrtMc_E/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-UP_cuGb_LZc/TxpebOyR1sI/AAAAAAAAFS8/qIWm1TVHX88/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The 1949 Prestige recordings contained on this album are some of the greatest jazz performances ever, period. One happy fact of this genre that sometimes makes record collecting seem like a neat hobby is that some records are gatherings of many important players from particular scenes. In this case, that means not only is there wonderful playing from alto saxophonist Lee Konitz, but also great contributions from his usual gang of sidekicks, including pianist Lennie Tristano, tenor saxophonist Warne Marsh, and guitarist Billy Bauer. The dozen tunes include a standard that Konitz has done many great interpretations of through his career, "You Go to My Head," but is largely a series of original compositions, some with heads as intricate as the route out of the labyrinth. This is one of these sessions in which there is a sense of wonder in the air, and at the same times the musicians seem to make the impossible seem easy. Some of these impressive feats that are accomplished so casually include the suggestion of several time feels in the course of a series of phrases, something the featured drummers such as Denzil Best react to strongly, audibly salivating with cymbal pulsations. There is also a warmth of tone throughout, in moments when the musicians are improvising together, giving the impression of being seated before a steadily growing mound of shimmering gold coins. The tunes on this album sometimes appear in a different sequence on reissues.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Cool, Progressive Jazz, Bop, Saxophone Jazz<br>Time - 39:34<br>Format - mp3@320 Kbps<br>Size - 100 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Progression<br>02. Tautology<br>03. Retrospection<br>04. Subconscious Lee<br>05. Judy<br>06. Marshmallow<br>07. Fishin' Around<br>08. Tautology<br>09. Sound-Lee<br>10. Rebecca<br>11. You Go to my Head<br>12. Ice Cream Konitz<br>13. Palo Alto</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Lee Konitz (alto sax, soprano sax)<br>Lennie Tristano, Sal Mosca (piano)<br>Peter Decker, Warne Marsh (tenor sax)<br>Billy Bauer (guitar)<br>Arnold Fishkind (bass)<br>Shelly Manne, Jeff Morton, Oliver Strauch (drums)<br> <br>Label<br>Prestige, 1949</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/6792767384f1a5df53552c">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-8879150660335287442?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-67067141538722403092012-01-21T03:00:00.000-08:002012-01-21T03:00:05.744-08:00Introducing the Beau Brummels<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-dExqciWPAtk/Txpb9ggB4HI/AAAAAAAAFSo/t9pXDB8QMJ8/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-cMi72k1LFGw/Txpb-XTi2VI/AAAAAAAAFSs/dLHIeAvGpJ4/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>While they only had two big hits, the Beau Brummels were one of the most important and underrated American groups of the 1960s. They were the first U.S. unit of any sort to successfully respond to the British Invasion. They were arguably the first folk-rock group, even predating the Byrds, and also anticipated some key elements of the San Francisco psychedelic sound with their soaring harmonies and exuberant melodies. Before they finally reached the end of the string, they were also among the first bands to record country-rock in the late '60s. This album is a much stronger debut than the norm for the era. Ten of the 12 cuts are Ron Elliott originals, including the hits "Laugh Laugh," "Still in Love with You Baby," and "Just a Little." The hard-rocking numbers are the weakest, but "Stick Like Glue" and "I Would Be Happy" are fine Beatlesque numbers, and "They'll Make You Cry" is a first-rate moody folk-rocker. </font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Folk Rock, Psychedelic, Contemporary Rock, Garage Rock, AM Pop<br>Time - 31:14<br>Format - mp3@320 Kbps<br>Size - 72 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Laugh, Laugh<br>02. Still In Love With You Baby<br>03. Just a Little<br>04. Just Wait and See<br>05. Oh, Lonesome Me<br>06. Ain't That Loving You Baby<br>07. Stick Like Glue<br>08. They'll Make You Cry<br>09. That's If You Want Me Too<br>10. I Want More Loving<br>11. I Would Be Happy<br>12. Not Too Long Ago</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Ron Elliott (guitar, vocals)<br>Ron Meagher (bass, guitar, vocals)<br>Sal Valentino (vocals)<br>Declan Mulligan (bass, guitar, rhythm guitar, vocals)<br>John Petersen (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Rhino, 1965</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/5158278434f1a5b1617ff3">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-6706714153872240309?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com3tag:blogger.com,1999:blog-7249285868009844760.post-87096084086973598982012-01-20T03:00:00.000-08:002012-01-20T03:00:12.325-08:00Jason Moran - Black Stars<p align="justify"><font size="2" face="Trebuchet MS"><em><a href="http://lh5.ggpht.com/-EsxFRwdGOTE/TxKQ8sdcmkI/AAAAAAAAFSY/Mo_nhIOSOM4/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-ay7681Ys6i8/TxKQ9EtDqeI/AAAAAAAAFSc/SJmDQr21TUI/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>This is pianist Jason Moran's third recording as a leader for Blue Note, and it is arguably his best. Only 26 when he recorded it, the pianist had the maturity to invite saxophone giant Sam Rivers (77 years old at the time!) to join Moran's trio, and it is a testimony to Moran's abilities that Rivers accepted. Moran has acknowledged his debt to jazz greats Andrew Hill and Herbie Nichols, two towering yet underrated giants of jazz piano and composition, and their influences show. Moran evidences an affinity for complicated snakelike post-bop lines and solo improvisations that get to the heart of a melody. His style is never showy; he embraces simple, emotional statements sophisticated in their mystery. Rivers' presence is a clear asset, and threatens to overwhelm the pianist at times. In fact, on some of the pieces it might appear that Rivers is the leader and Moran an excellent accompanist, a not unenviable position in itself. But Moran holds his own, evidencing a deep understanding of the jazz tradition that belies his youth. Moran keeps one eye on his influences and another to the future, something that Rivers has always done so well. By including a deft mixture of tunes written by Rivers and originals by Moran, and throwing in a bold trio version of Ellington's "Kinda Dukish," Moran offers a program that is both accessible and challenging.</em></font></p><a name='more'></a> <p align="justify"><font size="2" face="Trebuchet MS"><em>Genre - Jazz<br>Styles - Post Bop, Piano Jazz<br>Time - 57:38<br>Format - mp3@192 Kbps<br>Size - 79 mb</em></font></p> <p align="justify"><font size="2" face="Trebuchet MS"><em>Tracks<br>01. Foot Under Foot<br>02. Kinda Dukish<br>03. Gangsterism on a River<br>04. Earth Song<br>05. Summit<br>06. Say Peace<br>07. Draw the Light Out<br>08. Out Front<br>09. The Sun at Midnight<br>10. Skitter In<br>11. Sound It Out</em></font></p> <p align="justify"><font size="2" face="Trebuchet MS"><em>Credits<br>Jason Moran (piano)<br>Tarus Mateen (bass)<br>Nasheet Waits (drums)</em></font></p> <p align="justify"><font size="2" face="Trebuchet MS"><em>Label<br>Blue Note, 2001</em></font></p> <p align="justify"><font size="2" face="Trebuchet MS"><em><a href="http://linksave.in/2976727454f12908230fa7">links</a></em></font></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-8709608408697359898?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-55627503183064746382012-01-19T22:03:00.001-08:002012-01-19T22:03:21.846-08:00amigos …. esto se acerca a su fin: El FBI cierra Megaupload<p align="justify"><em><font size="2" face="Trebuchet MS">El Departamento de Estado de EEUU, junto al FBI y otras autoridades internacionales, ha liderado </font></em><a href="http://www.justice.gov/opa/pr/2012/January/12-crm-074.html"><em><font size="2" face="Trebuchet MS">una operación</font></em></a><em><font size="2" face="Trebuchet MS"> contra la popular página web de </font></em><a href="http://www.elmundo.es/elmundo/2010/graficos/feb/s2/descargas.html"><em><font size="2" face="Trebuchet MS">intercambio de archivos</font></em></a><em><font size="2" face="Trebuchet MS"> </font></em><a href="http://www.elmundo.es/elmundo/2012/01/19/navegante/1327004148.html"><em><font size="2" face="Trebuchet MS">Megaupload</font></em></a><em><font size="2" face="Trebuchet MS">, que <strong>ha sido clausurada</strong>, y contra <strong>varios de sus responsables, que han resultado detenidos y acusados</strong> en el </font></em><a href="http://online.wsj.com/article/SB10001424052970204616504577171060611948408.html?mod=WSJ_hp_LEFTWhatsNewsCollection#project%3DWSJPDF%26s%3Ddocid%253D120119203839-55f3c7eb6f724462b34bd64ce22ff1d0%257Cfile%253Dmega01192012%26articleTabs%3Ddocument"><em><font size="2" face="Trebuchet MS">estado de Virginia</font></em></a><em><font size="2" face="Trebuchet MS"> (EEUU) de conspiración para cometer un crimen y violación de la propiedad intelectual. </font></em><em><font size="2" face="Trebuchet MS">La operación se ha dirigido contra dos compañías, <strong>Megaupload Limited y Vestor Limited</strong>, y en estos momentos las páginas web<strong>Megaupload</strong> -intercambio de archivos- y <strong>Megavideo</strong> -visualización de vídeos en Internet-, ambas propiedad de las mismas compañías, se encuentran inaccesibles, como también lo están <strong>Megapix, Megalive y Megabox</strong>. </font></em><em><font size="2" face="Trebuchet MS">El Departamento de Justicia acusa a siete de los responsables de estas compañías de crimen organizado y asegura que son <strong>"responsables" de "piratería masiva en todo el mundo de diferentes tipos de obras protegidas por derechos de propiedad intelectual"</strong>. Además, en la nota hecha pública se asegura que estas páginas han generado más de 175 millones de dólares en actividades delictivas y que han causado "<strong>más de 500 millones de dólares en daños</strong> a los propietarios de las obras protegidas".</font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-5562750318306474638?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com7tag:blogger.com,1999:blog-7249285868009844760.post-53843286558562525882012-01-19T03:00:00.000-08:002012-01-19T03:00:08.744-08:00Dale Hawkins - Oh! Suzy Q<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-TKfOS8JcGVo/TxKPqbxrGnI/AAAAAAAAFSI/eQusQZsicgo/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-qu4CnHdl88I/TxKPrOB-yRI/AAAAAAAAFSM/Y7gXy2j0MbQ/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Louisiana guitarist Dale Hawkins' 1957 hit "Suzy Q," with its crackling bluesy guitar and insistent cowbell, was one of the most exciting early rockabilly singles. Recording for Chess (as one of its few white artists) between 1956 and 1961, Hawkins never quite duplicated its success, either commercially or artistically, but came close enough on a number of occasions to warrant respect as one of the better rockabilly singers. His drawling delivery, sense of humor, affinity for blues, and sharp guitar work (which was actually provided by such ace players as Roy Buchanan, Scotty Moore, and James Burton) are heard to good effect on his 1958 album and a number of non-hit singles. Hawkins went on to become a producer of some note in the 1960s, working with the Five Americans and Bruce Channel. In 1999 he released his first album of new material in 30 years, Wildcat Tamer, on Mystic Records. The impressive Back Down to Louisiana appeared in 2007 from Plumtone Records. A way-above-average '50s rock & roll album, including both sides of Dale Hawkins' first four singles. Highlights are "Suzie Q," its killer B-side, "Don't Treat Me This Way," and the goofy "See You Soon Baboon" and "Mrs. Mergitory's Daughter."</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Rock & Roll, Rockabilly, Roots Rock, Rockabilly Revival<br>Time - 27:18<br>Format - mp3@192 Kbps<br>Size - 38 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Suzy Q<br>02. Don't Treat Me This Way<br>03. Juanita<br>04. Tornado<br>05. Little Pig<br>06. Heaven<br>07. Baby Baby<br>08. Mrs. Mergritory's Daughter<br>09. Take My Heart<br>10. Wild Wild World<br>11. See You Soon Baboon<br>12. Four Letter Word (Rock)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Dale Hawkins (guitar, vocals)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Chess, 1958</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/9189197094f128f3cd6f8f">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-5384328655856252588?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-63784606523416601442012-01-18T03:00:00.000-08:002012-01-18T03:00:10.775-08:00The Police - Zenyatta Mondatta<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-nAF09JRU23Q/TxKDav32fnI/AAAAAAAAFR4/wXJ9Oq-cjaI/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-hklzP-Q0zs0/TxKDbQ2FbSI/AAAAAAAAFR8/AeyO4uWWgAY/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The stage was set for the Police to become one of the biggest acts of the '80s, and the band delivered with the 1980 classic Zenyatta Mondatta. The album proved to be the trio's second straight number one album in the U.K., while peaking at number three in the U.S. Arguably the best Police album, Zenyatta contains perhaps the quintessential new wave anthem, the haunting "Don't Stand So Close to Me," the story of an older teacher lusting after one of his students. While other tracks follow in the same spooky path (their second Grammy-winning instrumental "Behind My Camel" and "Shadows in the Rain"), most of the material is upbeat, such as the carefree U.S./U.K. Top Ten "De Do Do Do, De Da Da Da," "Canary in a Coalmine," and "Man in a Suitcase." Sting includes his first set of politically charged lyrics in "Driven to Tears," "When the World Is Running Down, You Make the Best of What's Still Around," and "Bombs Away," which all observe the declining state of the world. While Sting would later criticize the album as not all it could have been (the band was rushed to complete the album in order to begin another tour), Zenyatta Mondatta remains one of the finest rock albums of all time.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Album Rock, Contemporary Rock, New Wave, Alternative Rock, Indie Rock<br>Time - 38:23<br>Format - mp3@320 Kbps<br>Size - 88 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Don't Stand So Close to Me<br>02. Driven to Tears<br>03. When the World Is Running Down, You Make the Best of What's Still Around<br>04. Canary in a Coalmine<br>05. Voices Inside My Head<br>06. Bombs Away<br>07. De Do Do Do, De Da Da Da<br>08. Behind My Camel<br>09. Man in a Suitcase<br>10. Shadows in the Rain<br>11. The Other Way of Stopping</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Sting (bass, vocals)<br>Andy Summers (guitar, vocals)<br>Stewart Copeland (drums, vocals)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Polydor, 1980</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/8660000754f1282f24bba3">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-6378460652341660144?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-69045144557919844482012-01-17T03:00:00.000-08:002012-01-17T03:00:10.470-08:00Miles Davis - Complete Live at the Blue Coronet 1969<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-Bt0_OSa1r3I/TxKBifVUmcI/AAAAAAAAFRo/hbU-vWyfMmM/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-jVk-Nz3Joqc/TxKBjC2K6CI/AAAAAAAAFRw/Kgk9o9yMU_o/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>2010 two CD set containing all surviving music from a never before heard performance by the 1969 Miles Davis Quintet, with Wayne Shorter, Chick Corea, Dave Holland and Jack DeJohnette. It was taped at the Blue Coronet Club in New York in June of that year, before the group embarked on a European tour. Miles remembered this group in his autobiography as really a bad motherfucker. These recordings are welcome considering that this exact formation of the quintet never made a studio recording. Later that same year : “Miles Davis was shot and wounded in the hip by unknown assailants in the early morning of October 9 as he sat in a parked car with a friend in New York’s East Village. The injury was not serious, and Davis was treated at a hospital and released. The trumpeter, who was appearing at the Blue Coronet in Brooklyn, told police that he had been warned, four days prior to the assault, not to appear at the club, located in Bedford-Stuyvesant, unless he paid part of his salary to the unidentified man making the threats. Davis offered a $5,000 reward for information leading to the identification and/or arrest of his assailants. He said he would never again play at the club.” (Down Beat, November 13, 1969) Recorded at the Blue Coronet Club, Brooklyn, NY, June 21-29, 1969. These historically important recordings come from amateur tapes made by audience members and the sound quality is not up to today’s standards. Every effort has been made to improve it using modern sound technologies.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Post Bop, Fusion, Trumpet Jazz<br>Time - 107:12<br>Format - mp3@320 Kbps<br>Size - 256 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc I<br>01. This<br>02. Agitation<br>03. No Blues<br>04. Paraphernalia #1 [Incomplete]</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc II<br>01. Gingerbread Boy<br>02. Paraphernalia #2<br>03. Miles Runs the Voodoo Down<br>04. Walkin'</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Miles Davis (trumpet)<br>Wayne Shorter (tenor sax, soprano sax)<br>Chick Corea (electric piano)<br>Dave Holland (bass)<br>Jack DeJohnette (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Domino, 2010</font></em></p> <p align="justify"><em><font face="Trebuchet MS"><font size="2"><a href="http://linksave.in/17940608834f12811a0fa40">links</a></font></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-6904514455791984448?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-11306132321786360652012-01-16T03:00:00.000-08:002012-01-16T03:00:03.588-08:00Brian Setzer - 13<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-1ciYj46ktVI/TxJ-fTwMOLI/AAAAAAAAFRY/qjCIex0Uzdc/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-aGg8oifFYbE/TxJ-gYJNLeI/AAAAAAAAFRg/5OUV9UR2Q90/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Throughout his career, Brian Setzer has successfully led two bands that have explored, and expanded upon, specific areas of pre-'60s American music: the Stray Cats virtually created the rockabilly revival of the '80s and the Brian Setzer Orchestra mined and updated the big band swing and jump-boogie of the '40s. In both contexts, the prescient Setzer proved a winner, an inspired and knowledgeable craftsman armed with truckloads of sizzling, pinpointed guitar licks and terrific songs. On occasion he's chosen, with mixed results, to break out of those molds and piece together solo albums that extend his reach into more mainstream, albeit still retro-based areas of rock. His first, 1986's The Knife Feels Like Justice, was a left-field surprise that seemed to indicate that Setzer was primed to abandon, at least partially, his obsession with the past and to try his luck in the modern rock world. That didn't quite happen, as he returned repeatedly to the more familiar territory, but on 13 -- so named because it's his 13th studio album of new material -- Setzer once again branches out, and this time he's got the balance just right. 13 is stocked with 13 (of course) diverse tracks gliding easily from straight-ahead rock & roll (among the best: "Rocket Cathedrals," "Broken Down Piece of Junk" and the anthemic "We Are the Marauders," which declares that "American Idol is a bunch of crap") to slick instrumental blues ("Mini Bar Blues"). That doesn't mean he leaves the vintage Americana behind, but one of the album's strongest tunes, the hilarious "Really Rockabilly" (which includes Stray Cats drummer Slim Jim Phantom) leaves no doubt that Setzer's fed up with the many poseurs who've co-opted and diluted the style without having much of a clue about its origins or rebel spirit. Just to show them how it's really done, he unleashes a series of short-burst licks that provide a crash course in rockabilly guitar. "Don't Say You Love Me" crosses harmonic pop/rock with smooth rockabilly economy, and "When Hepcat Gets the Blues" walks the tightrope between Stray Cats and BSO territory. But although several songs touch on familiar ground, 13 is not intended to be, not does it feel like, a rockabilly or swing album. The opening track, the crunching "Drugs and Alcohol (Bullet Holes)" (it's anything but an endorsement of said substances) takes a look at the hard life of a high-schooler who's been through way too much, while "Everybody's Up to Somethin'," with its stacked Southern rock-style guitars, casts just about everyone into the role of no-goodnik. Setzer closes out 13 with the mostly acoustic "The Hennepin Avenue Bridge," something that might have felt at home in the early-'60s folk revival. Gotta keep 'em guessing, after all.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Rockabilly Revival, Retro Rock<br>Time - 43:40<br>Format - mp3@224 Kbps<br>Size - 70 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Drugs & Alcohol (Bullet Holes)<br>02. Take a Chance on Love<br>03. Broken Down Piece of Junk<br>04. We Are the Marauders<br>05. Don't Say You Love Me<br>06. Really Rockabilly<br>07. Rocket Cathedrals<br>08. Mini Bar Blues<br>09. Bad Bad Girl (In a Bad Bad World)<br>10. When Hepcat Gets the Blues<br>11. Back Streets of Tokyo<br>12. Everybody's Up to Somethin'<br>13. The Hennepin Avenue Bridge</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Brian Setzer (banjo, bass, guitar, ukulele, vocals)<br>Robert Chevrier (piano)<br>Ronald Crutcher (double bass)<br>Bernie Dresel, Slim Jim Phantom (drums)<br>Jon Duncan (organ)<br>Julie Reiten, Tomoyasu Hotei (background vocals)<br>Stefan Kac (tuba)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Surfdog Records, 2006</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/16892405504f127d8885005">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-1130613232178636065?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com2tag:blogger.com,1999:blog-7249285868009844760.post-38472198130567115092012-01-15T03:00:00.000-08:002012-01-15T03:00:00.086-08:00Geri Allen - The Nurturer<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-N6aUi2pUMS0/TwgadJlb3zI/AAAAAAAAFRI/xsGiqzFD8PY/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-mQPkRwVmOaM/TwgadnelJiI/AAAAAAAAFRM/Ms0jrgUSXAA/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>A fine example of Geri Allen's advanced music (which holds on to tradition without merely recreating the past), this album matches the talented pianist with veteran trumpeter Marcus Belgrave, altoist Kenny Garrett, bassist Robert Hurst, drummer Jeff Watts and percussionist Eli Fountain on group originals and two obscurities. Everyone is in fine form, and the Belgrave-Garrett combination works quite well. Where some jazz discs can be predictable (two swingers, two ballads, one blues, etc.), NURTURER is alive with variety--free blow-outs, subtle and vibrant New Orleans rhythms, and earnest hard bop are the contexts for inspired, envelope-pushing solos.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Free Improvisation, Post Bop, Piano Jazz<br>Time - 53:10<br>Format - mp3@320 Kbps<br>Size - 121 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Night's Shadow<br>02. No. 3<br>03. It's Good to Be Home Again<br>04. Batista's Groove<br>05. Night of Power (for My Daughter Laila)<br>06. Our Gang<br>07. Silence and Song, The Nurturer<br>08. Le Goo Wop<br>09. Lullaby of Isfahn</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Geri Allen (piano)<br>Marcus Belgrave (flugelhorn, trumpet)<br>Eli Fountain (percussion)<br>Kenny Garrett (alto sax)<br>Robert Hurst (bass)<br>Jeff Watts (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Blue Note, 1990</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/19315521904f0819871aab4">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-3847219813056711509?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-37893288627898245412012-01-14T03:00:00.000-08:002012-01-14T03:00:00.897-08:00Traffic - John Barleycorn Must Die<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-MOQ6geYcjPo/TwgYjG0ftEI/AAAAAAAAFQ4/DZpme-NoDEc/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-lNOj4Nwq6yk/TwgYjt1verI/AAAAAAAAFQ8/4ZHlDjbbDuM/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>At only 22 years old, Steve Winwood sat down in early 1970 to fulfill a contractual commitment by making his first solo album, on which he intended to play all the instruments himself. The record got as far as one backing track produced by Guy Stevens, "Stranger to Himself," before Winwood called his erstwhile partner from Traffic, Jim Capaldi, in to help out. The two completed a second track, "Every Mother's Son," then, with Winwood and Island Records chief Chris Blackwell moving to the production chores, brought in a third Traffic member, Chris Wood, to work on the sessions. Thus, Traffic, dead and buried for more than a year, was reborn. The band's new approach was closer to what it perhaps should have been back in 1967, basically a showcase for Winwood's voice and instrumental work, with Wood adding reed parts and Capaldi drumming and occasionally singing harmony vocals. If the original Traffic bowed to the perceived commercial necessity of crafting hit singles, the new Traffic was more interested in stretching out. Heretofore, no studio recording had run longer than the five-and-a-half minutes of "Dear Mr. Fantasy," but four of the six selections on John Barleycorn Must Die exceeded six minutes. Winwood and company used the time to play extended instrumental variations on compelling folk- and jazz-derived riffs. Five of the six songs had lyrics, and their tone of disaffection was typical of earlier Capaldi sentiments. But the vocal sections of the songs merely served as excuses for Winwood to exercise his expressive voice as punctuation to the extended instrumental sections. As such, John Barleycorn Must Die moved beyond the jamming that had characterized some of Traffic's 1968 work to approach the emerging field of jazz-rock. And that helped the band to achieve its commercial potential; this became Traffic's first gold album.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Album Rock, Art Rock, Prog Rock, Jazz Rock, Psychedelic<br>Time - 39:09<br>Format - mp3@192 Kbps<br>Size - 53 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Glad<br>02. Freedom Rider<br>03. Empty Pages<br>04. I Just Want You to Know<br>05. Stranger to Himself<br>06. John Barleycorn (Must Die)<br>07. Every Mother's Son<br>08. Sittin' Here Thinkin' of My Love</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Steve Winwood (flute, acoustic guitar, bass, organ, percussion, piano, vocals)<br>Chris Wood (electric saxophone, flute, organ, percussion, saxophone)<br>Dave Mason (guitar, vocals, bass, keyboards, sitar)<br>Jim Capaldi (drums, percussion, tambourine, vocals)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Polygram, 1970</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/9324630864f08181f0ce19">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-3789328862789824541?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-58650279739798548232012-01-13T03:00:00.000-08:002012-01-13T03:00:08.653-08:00Pat Metheny - 80/81<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-iY8Vj8Zt-N0/TwgWfjTJ0uI/AAAAAAAAFQo/q9dTxwGD_4A/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-ZVItGLUNbhQ/TwgWgKeHU3I/AAAAAAAAFQs/R0mXvqt4bnU/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Pat Metheny's credibility with the jazz community went way up with the release of this package, a superb two-CD collaboration with a quartet of outstanding jazz musicians that dared to be uncompromising at a time when most artists would have merely continued pursuing their electric commercial successes. From the disbanded Keith Jarrett American quartet came bassist Charlie Haden and tenor Dewey Redman -- who alternates with and occasionally plays alongside tenor Michael Brecker -- and Jack DeJohnette provides more combustible drumming than Metheny had ever experienced on record before. Yet Metheny's off-kilter wandering on solo electric guitar is a comfortable fit for the post-bop rhythmic crosscurrents of this music. Indeed, Haden and Metheny are in total sympathy, perhaps celebrating their mutual Missouri roots, and Metheny's difficult "Pretty Scattered" -- which he mockingly described as "Guitar Revenge!" -- nearly manages to stump even Redman and Brecker. The first of the "Two Folk Songs" is a great example of the Metheny folk-jazz fusion, with furious strummed guitar underpinning Brecker's melodic line and excursions on the outside and DeJohnette's spectacular drums. Another remarkable track is "Open," a group improvisation that finds DeJohnette shaping the track's direction with a pushing solo and Metheny and the saxes emerging at the end. The two original LPs were organized so that the more distinctive Metheny fusions were on sides one and four and the overt jazz tracks occupied sides two and three.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Fusion, Post Bop, Guitar Jazz, Folk Jazz<br>Time - 79:52<br>Format - mp3@192 Kbps<br>Size - 110 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc I<br>01. Two Folk Songs<br>02. 80/81<br>03 . The Bat<br>04. Turnaround</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc II<br>01. Open<br>02. Pretty Scattered<br>03. Every Day (I Thank You)<br>04. Goin' Ahead</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Pat Metheny (bass, guitar, acoustic guitar)<br>Michael Brecker (tenor sax, saxophone)<br>Dewey Redman (tenor sax)<br>Charlie Haden (bass)<br>Jack DeJohnette (cymbals, drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>ECM, 1980</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/11077240804f08160bb5612">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-5865027973979854823?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-38629958812747232542012-01-12T03:00:00.000-08:002012-01-12T03:00:01.153-08:00Bo Diddley<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-wFmqobh1ES4/TwgC9HWC4nI/AAAAAAAAFQY/xGWOWcj-Rtw/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-sraQ_V2r5_s/TwgC9qECtLI/AAAAAAAAFQc/qybBaeYrA6s/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>For anyone who wants to play rock & roll, real rock & roll, this is one of the few records that you really need. Along with Chuck Berry, Elvis, Little Richard, Jerry Lee Lewis, Muddy Waters, B.B. King, and a few select others, Bo Diddley was one of the founders of the form -- and he did it like no other. Diddley had only one real style, that being the Bo Diddley beat: a syncopated, rhythmic drive, loaded with tremolo. There are 12 examples of it on this record, and that is about all you need. It's one of those records that, after listening to just a few cuts, will find you tapping the beats on every available surface. Diddley's guitar and vocals have a gruff feeling that recalls bluesmen such as Waters, yet he has his own style. Buttressed by drums, funky piano, and usually maracas, it's absolutely infectious. This is one of the greatest rock sounds that you're likely to hear, and it's all on this one record, too.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Early Rhythm & Blues, Rock & Roll, Chicago Blues, Regional Blues<br>Time - 31:28<br>Format - mp3@192 Kbps<br>Size - 43 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Bo Diddley<br>02. I'm a Man<br>03. Bring It to Jerome<br>04. Before You Accuse Me<br>05. Hey! Bo Diddley<br>06. Dearest Darling<br>07. Hush Your Mouth<br>08. Say Boss Man<br>09. Diddley Daddy<br>10. Diddy Wah Diddy<br>11. Who Do You Love<br>12. Pretty Thing</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Bo Diddley (guitar, vocals)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Chess, 1957</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/14308927684f080243aec55">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-3862995881274723254?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-56071641247010799832012-01-11T03:00:00.000-08:002012-01-11T03:00:13.082-08:00The Lovin' Spoonful - Do You Believe in Magic<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-lwfSVu3JfQs/TwgAwA5jOFI/AAAAAAAAFQI/NePNUVSGO9A/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-3Yd1Juf-O-k/TwgAwiAmm-I/AAAAAAAAFQM/-M5tRNg2rrI/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>By the time of its release, the Lovin' Spoonful's debut album was already a significant record because of the inclusion of its title track, John Sebastian's timeless anthem to love and music, which had been one of the major hits of the summer of 1965. The album elaborated upon Sebastian's gentle, winning songwriting style with the humorous "Did You Ever Have to Make Up Your Mind," which was released as a single in the spring of 1966 and became another Spoonful hit, and the wistful "Younger Girl," which became a chart hit for the Critters. The album also revealed the group's jug band roots in its arrangements of traditional songs like "Fishin' Blues" and "Wild About My Lovin'" and revealed that lead guitarist Zal Yanovsky and drummer Joe Butler, while not quite in Sebastian's league, were good singers as well. The Spoonful would be remembered as a vehicle for Sebastian's songwriting, but Do You Believe in Magic was a well-rounded collection that demonstrated their effectiveness as a group.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Folk Rock, Psychedelic, Rock & Roll, AM Pop, Contemporary Rock, Sunshine Pop<br>Time - 30:21<br>Format - mp3@224 Kbps<br>Size - 49 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Do You Believe in Magic<br>02. Blues in the Bottle<br>03. Sportin' Life<br>04. My Gal<br>05. You Baby<br>06. Fishin' Blues<br>07. Did You Ever Have to Make up Your Mind<br>08. Wild About My Lovin'<br>09. Other Side of This Life<br>10. Younger Girl<br>11. On the Road Again<br>12. Night Owl Blues</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>John Sebastian (guitar, vocals, harp)<br>Zal Yanovsky (guitar, vocals)<br>Jerry Yester (piano)<br>Steve Boone (bass)<br>Joe Butler (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Orbis, 1993</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/558303184f0800353919e">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-5607164124701079983?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-12654270739753356692012-01-10T03:00:00.000-08:002012-01-10T03:00:14.316-08:00Sonny Sharrock - Monkey-Pockie-Boo<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-xeLs21RHgp8/Twf-ObFGemI/AAAAAAAAFP4/QGVTeiGsEfM/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-6XLlEzWQNXk/Twf-OzKPTXI/AAAAAAAAFP8/942F0jxYiqM/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>On the subject of this guitarist people have quite a range of opinion -- between the fellow string-benders who kneel at his feet and the members of Herbie Mann's audience who used to stand out on the sidewalk whenever it was time for a Sharrock solo. Recordings by the man as a leader were plentiful during the later part of his career, but there are those fans who wished there had been more records earlier on when his playing was at its most blisteringly intense. Thus, fans might approach this session on the consistently artistically exciting BYG label expecting to have their minds blown. It is an album one wants to like, but it is as difficult to like as the losers at cheerleader tryouts. Not all the problems can be blamed on Big Sonny, but he does decide to lay out on guitar for nearly half of the first side's 17-minute opus, "27th Day," making his grand entrance instead on slide whistle. Uh, slide whistle? Does one really buy a Sonny Sharrock album to hear him play slide whistle? It is the equivalent of John Coltrane playing kazoo, although there are Sharrock pundits who have wasted valuable time analyzing the relationship between his slide whistle playing and his main ax. And like the waitress who shows up to find the entire kitchen staff dead drunk, Sharrock works here without any of the other musicians on board helping out in the least. With so many great players seemingly at the label's beck and call, why did Sharrock get saddled with the French rhythm section, who sounds as cheesy as an overdone un croque monsieur toasted sandwich? As for the vocal pyrotechnics of Linda Sharrock, she proves many things, one of which is that she cannot sing along with a slide whistle. This type of freestyle, avant-garde vocalizing has its place and its quality practitioners, such as Jeanne Lee, but in the end it subtracts from, not adds to, the pleasure of enjoying Sharrock's playing. Of course, there are moments of quality guitar skronking.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Avant Garde, Free Jazz, Guitar Jazz<br>Time - 34:03<br>Format - mp3@320 Kbps<br>Size - 78 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. 27th Day<br>02. Soon<br>03. Monkey-Pockie-Boo</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Sonny Sharrock (guitar, slide whistle, vocals, voices)<br>Linda Sharrock (vocals)<br>Beb Guérin (bass)<br>Jacques Thollot (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Sunspots, 1970</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/17367754684f07fdb21964b">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-1265427073975335669?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-66477157669807500882012-01-09T03:00:00.000-08:002012-01-09T03:00:03.319-08:00Duke Robillard - Blue Mood: The Songs of T-Bone Walker<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-X8HQ-VJjLu8/Twf8RsvAuPI/AAAAAAAAFPo/VE5D8BXNpBI/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-Jf3Nux-Kp8A/Twf8SpZkK5I/AAAAAAAAFPs/grn3qqDCVe8/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Duke Robillard pays homage to T-Bone Walker with this collection of swing, big band and blues songs. The bubbly and bouncy "Lonesome Woman Blues" has a be-bop Count Basie feeling as his supporting players are given brief solos to shine, particularly the horn section. There is far more substance and style to this approach than a rehashed run-through à la Brian Setzer. This fluidity continues, albeit a bit slower in tempo with the swinging "T-Bone Shuffle" which carries the same head-bobbing groove. Here the horns lead the way but Robillard makes his presence felt on guitar near the homestretch, and throughout the stellar "Pony Tail." The barroom blues and drum brushes on "Love Is a Gamble" takes things down to a creepy crawl, bringing to mind Dr. John or Delbert McClinton. An early favorite has to be the rousing and toe-tapping "Alimony Blues," an indication that Robillard wants to pay tribute in the right way by nailing each song beautifully. The same can be said for the finger-snapping "T-Bone Boogie," which just touches a guitar style of Chuck Berry in its introduction and also near the closing rave-up. The ebb and flow of the album is probably its greatest strength, as "Blue Mood" has Robillard up to his waist in the blues. The lengthy nine-minute epic "I'm Still in Love With You" seems to sag in parts, partly because the momentum isn't consistent for the song. It also brings to mind Fats Domino often. "Born to Be No Good" has a better fate, especially with Robillard evoking the styles of B.B. King and Clapton circa From the Cradle on this number -- meticulous and deliberate but quite engaging. "This has been an inspirational project of the highest order for me," Robillard says in the liner notes. The end result is another charming record.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Contemporary Blues<br>Time - 53:40<br>Format - mp3@320 Kbps<br>Size - 74 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Lonesome Woman Blues<br>02. T-Bone Shuffle<br>03. Love Is a Gamble<br>04. Alimony Blues<br>05. You Don't Love Me<br>06. T-Bone Boogie<br>07. Blue Mood<br>08. Pony Tail<br>09. I'm Still in Love With You<br>10. Hard Way<br>11. Born to Be No Good<br>12. Tell Me What's the Reason</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Duke Robillard (guitar, acoustic guitar, vocals)<br>John Abrahamsen (trumpet)<br>Al Basile (cornet)<br>Gordon Beadle (tenor sax)<br>Doug James (baritone sax, tenor sax)<br>Matt McCabe (piano)<br>Billy Novick (clarinet, alto sax)<br>Carl Querfurth (trombone)<br>Jesse Williams (bass)<br>Mark Teixeira (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Stony Plain, 2004</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/8778114654f07fc24393de">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-6647715766980750088?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-79922161249360903442012-01-08T03:00:00.000-08:002012-01-08T03:00:04.802-08:00Joe Harriott Quintet - Free Form<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-TacSJgsJgb4/TwAljfsAwWI/AAAAAAAAFPY/cLm9acbtebk/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-Fe_cSwNXP7M/TwAlkPdYwAI/AAAAAAAAFPc/9hymWw7I_ag/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The few recordings of Jamaican born saxophonist Joe Harriott have been hard to come by since they were initially released in the early '60s. One of the most famous is Free Form, recorded in London and released in 1960. Comparable to Ornette Coleman's recordings of the period, these eight pieces incorporate Harriott's hard bop influence, cutting through adventurous compositions including "Abstract," "Straight Lines," and "Impression." When listening to Free Form (or early Coleman for that matter) with a 21st century perspective, it's hard to imagine that this music was often considered intolerable upon release. It's unfortunate that Harriott and trumpeter/flügelhornist Shane Keane missed out on being as widely lauded as Coleman and Don Cherry finally became. In 1999 tenor saxophonist Ken Vandermark attempted to spotlight that ill-fated situation by releasing a disc of Harriott compositions, including three from Free Form, on his 1999 release Straight Lines.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Post Bop, Avant Garde Jazz<br>Time - 46:13<br>Format - mp3@192 Kbps<br>Size - 63 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Formation<br>02. Coda<br>03. Abstract<br>04. Impression<br>05. Parallel<br>06. Straight Lines<br>07. Calypso<br>08. Tempo</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Joe Harriott (alto sax)<br>Shake Keane (flugelhorn, trumpet)<br>Pat Smythe (piano)<br>Coleridge Goode (bass)<br>Phil Seaman (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Euphonium, 1960</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/15987516414f002530cd980">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7992216124936090344?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-44500870168345607072012-01-07T03:00:00.000-08:002012-01-07T03:00:03.455-08:00Alan Vega<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-ZetOc2ABWAA/TwAbv2ktbNI/AAAAAAAAFPI/lEKgiKkvqs4/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-VxmJgc4ypuQ/TwAbwV9uIlI/AAAAAAAAFPM/-a2rc5S7kPk/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Alan Vega used his first solo album to distance himself from the music made by his pioneering synth-punk duo Suicide. Where Suicide deliberately used cheap, loud synthesizers to generate a cold, crude sound, Vega hired a guitarist and made, for all intents and purposes, a rockabilly album. "Lonely" is Vega's homage to "Heartbreak Hotel," and it's as full of yelps and pleading as the original, as Vega does his best Elvis impression. The gorgeous "Ice Drummer" may be Vega's best solo track, a beautiful shiny pop gem. Only "Bye Bye Bayou," a misguided attempt to fuse '50s rock and Vega's extended performance art pieces, falls flat. Still, golden pop moments like "Ice Drummer" are good reminders of why Vega, for all his eccentricities, remains a musician worth caring about.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Experimental Electronic, Art Rock<br>Time - 35:23<br>Format - mp3@192 Kbps<br>Size - 48 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Jukebox Babe<br>02. Fireball<br>03. Kung Fu Cowboy<br>04. Love Cry<br>05. Speedway<br>06. Ice Drummer<br>07. Bye Bye Bayou<br>08. Lonely</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Alan Vega (vocals)<br>Phil Hawk (guitar)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>PVC, 1980</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/8452651224f001b397ca4c">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-4450087016834560707?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-88624522938824882172012-01-06T03:00:00.000-08:002012-01-06T03:00:15.218-08:00Oscar Peterson - 1951<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-jK2Mi9nYyXk/TwAaPHcFO4I/AAAAAAAAFO4/IW_NdgI9Tds/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-_hxSGpo-hWY/TwAaPx6qecI/AAAAAAAAFO8/MP2mcXxqECU/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Recorded for the Canadian Broadcasting Corporation and little heard since then, these radio transcriptions (reissued on CD by Just a Memory) feature the brilliant Oscar Peterson when he was just 25, only two years after being "discovered" by Norman Granz. Peterson performs 20 concise duets with Canadian bassist Auston Roberts; only three songs are over three minutes, and five are under two. Although Peterson's style was pretty bop-oriented during this era, he sticks mostly to swing standards. O.P.'s virtuosity was already quite developed, and he rips into such songs as "Flying Home," "I've Got Rhythm," "Seven Come Eleven," "Air Mail Special" and "Get Happy," making every moment of the brief performances count. This melodic and enjoyable set is recommended even to Oscar Peterson fans who already have over 100 of his records.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Bop, Piano Jazz<br>Time - 51:20<br>Format - mp3@320 Kbps<br>Size - 118 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. For You<br>02. Pennies from Heaven<br>03. Whispering<br>04. Body and Soul<br>05. Flying Home<br>06. Hungarian Dance<br>07. Gypsy in My Soul<br>08. I Don't Stand a Ghost of a Chance With You<br>09. I'm Forever Blowing Bubbles<br>10. I Got Rhythm<br>11. Tea for Two<br>12. The Man I Love<br>13. Rose Room<br>14. Yesterdays<br>15. Seven Come Eleven<br>16. Just You<br>17. To a Wild Rose<br>18. Air Mail Special<br>19. Night and Day<br>20. Get Happy</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Oscar Peterson (piano)<br>Austin Roberts (bass)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Just a Memory Records, 1951</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/11427797644f001a1a7e7eb">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-8862452293882488217?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-64586841987820280172012-01-05T03:00:00.000-08:002012-01-05T03:00:00.666-08:00Stray Cats - Gonna Ball<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-ysnkh-uJhj4/Tv7H4DW-mAI/AAAAAAAAFOo/xP9uADl4Ne0/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-GyBe1zp_aUA/Tv7H45if_UI/AAAAAAAAFOs/7zBqwEIyH-I/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The Stray Cats' second album, Gonna Ball, was considered something of a disappointment when it was released in 1981; back then, it had the disadvantage of competing with the expectations raised by its immediate predecessor, a miraculous debut produced under the guidance of Dave Edmunds. When they pulled up stakes in England and returned to the U.S.A., they signed with EMI-America and built their American debut around what the band considered the best songs off of their first two records -- as a result, neither U.K. album was widely heard intact on American shores. Heard on its own terms 23 years later, Gonna Ball seems like a minor masterpiece, capturing the group going deep into early rock & roll and even pre-rock & roll roots music and far beyond the boundaries of rockabilly, supported by various players, including Rolling Stones alumnus Ian Stewart. Their rendition of Johnny Burnette's "Baby Blue Eyes" was a bracing opener (later moved to the closing spot on their third album). Brian Setzer's "Cryin' Shame" included a killer extended jam and harmonica showcase, and the Lee Rocker/Slim Jim Phantom-authored "(She'll Stay Just) One More Day" was a sophisticated piece of jump blues with a beautiful sax solo at its center and powerful central riff; Setzer's "What's Goin' Down (Cross That Bridge)," in turn, was as fine a Bo Diddley tribute as had been done by any white artist since the 1960s -- and none of those three made it on to their American debut LP. Setzer's "You Don't Believe Me" oozed the spirit of Elmore James out of every guitar note, while "Gonna Ball" and "Wicked Whisky" were exercises in rockabilly primitivism. "Rev It Up and Go" -- which made it to the third album -- was an impassioned Chuck Berry homage that also obliquely acknowledged the Beach Boys' service in making his riffs work in a uniquely white suburban context. "Lonely Summer Nights" -- also on the third album -- proved that this band could handle the ballad side of '50s music with the best of them when they wanted to. And "Crazy Mixed Up Kids" (which didn't make the cut to album number three) was a psychobilly instrumental workout par excellence.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - New Wave, Rockabilly Revival<br>Time - 35:33<br>Format - mp3@320 Kbps<br>Size - 83 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Baby Blue Eyes<br>02. Little Miss Prissy<br>03. Wasn't That Good<br>04. Cryin' Shame<br>05. (She'll Stay Just) One More Day<br>06. What's Goin' Down (Cross That Bridge)<br>07. You Don't Believe Me<br>08. Gonna Ball<br>09. Wicked Whisky<br>10. Rev It Up and Go<br>11. Lonely Summer Nights<br>12. Crazy Mixed-Up Kid</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Brian Setzer (guitar, vocals)<br>Lee Rocker (bass, vocals)<br>Lee Allen (tenor sax)<br>John Locke (keyboards)<br>Steve Poncar (saxophone)<br>Brian McDonald (harmonica)<br>Ian Stewart (keyboards)<br>Slim Jim Phantom (cymbals, drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Arista, 1981</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/12297943894efec759d8c68">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-6458684198782028017?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-59193287233650562732012-01-04T03:00:00.000-08:002012-01-04T03:00:03.806-08:00The Stooges - Fun House<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-u_Zs9yjPfm8/Tv7F-eZm1HI/AAAAAAAAFOY/aNBeHHUE41c/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-tsnXMGRNQsw/Tv7F-wnu6HI/AAAAAAAAFOc/MXqEOfyKc4o/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The Stooges' first album was produced by a classically trained composer who dabbled in rock & roll and the avant-garde; their second was supervised by a guy who had once been the keyboard player with the Kingsmen, and if that didn't make all the difference, it at least indicates why Fun House was a step in the right direction right out of the gate. Producer Don Gallucci took the sensible approach that the Stooges were a powerhouse live band, and his best bet was to re-create the group's live set with as little fuss as possible. As a result, the production on Fun House bears some resemblance to the Kingsmen's version of "Louie Louie" -- the sound is smeary and bleeds all over the place, but it packs the low-tech wallop of a concert pumped through a big PA, bursting with energy and immediacy. The Stooges were also a much stronger band this time out; Ron Asheton's blazing minimalist guitar runs had gained little in the way of technique since The Stooges, but his confidence had grown by a quantum leap as he summoned forth the sounds that would make him the hero of proto-punk guitarists everywhere, and the brutal pound of drummer Scott Asheton and bassist Dave Alexander had grown to heavyweight champion status. And Fun House is where Iggy Pop's mad genius first reached its full flower; what was a sneer on the band's debut had grown into the roar of a caged animal desperate for release, and his rants were far more passionate and compelling than what he had served up before. The Stooges may have had more "hits," but Fun House has stronger songs, including the garage raver to end all garage ravers in "Loose," the primal scream of "1970," and the apocalyptic anarchy of "L.A. Blues." In 2005, Rhino Records released a deluxe edition of Fun House that gave the album a long-needed remastering for CD, and included a bonus disc of alternate takes from the original recording sessions. The additional disc isn't especially revelatory for hardcore fans, since everything on it (except for a very raw demo of "Loose") appeared on the box set 1970: The Complete Fun House Sessions, including the hilarious single mix of "Down on the Street" (with a neo-Ray Manzarek keyboard part clumsily overdubbed over the top), two songs that didn't make the final cut of the album, and Iggy imitating his favorite wrestler. But given the fact the 1970 box is out of print (and commanding big bucks on eBay), the bonus disc does a nice job of condensing its material and summing up how this Fun House took shape, and the remastering of the original album makes it sound as loud and proud on CD as it deserves. Fun House is the ideal document of the Stooges at their raw, sweaty, howling peak, and this expanded edition only adds to the album's glorious fury.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Hard Rock, Detroit Rock, Glam Rock, Rock & Roll, New Wave<br>Time - 36:38<br>Format - mp3@320 Kbps<br>Size - 84 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Down on the Street<br>02. Loose<br>03. T.V. Eye<br>04. Dirt<br>05. 1970<br>06. Fun House<br>07. L.A. Blues</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Iggy Pop (vocals)<br>Ron Asheton (guitar)<br>Dave Alexander (bass)<br>Scott Asheton (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Elektra, 1970</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/275998524efec57a7538f">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-5919328723365056273?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-35102112522122498372012-01-03T03:00:00.000-08:002012-01-03T03:00:00.932-08:00Billy Bang - Changing Seasons<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-mjYi2cZ83Xo/Tv7Duh6uRHI/AAAAAAAAFOI/KyJ0XmITwjA/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-R6bxNeDIhhM/Tv7DvG7cgYI/AAAAAAAAFOM/OIpMSwPFkgs/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>This is a difficult record to find, out of print but worth looking for. The opening track, "Summer Night (With Crickets)" lays down an irresistibly funky groove -- not in the fusion sense of the word, but in the acoustic sense. Tsuchitori brings an almost Asian rhythmic influence to the setting, though this is strictly jazz. At 13 minutes, there is plenty of elbow room for everyone to stretch out in, and they do take advantage of that fact. The proceedings have an organic, woody feel to them, as if they are playing deep within forest. After the first track, things grow somewhat denser, and more complex. The closing "Winter Rains" brings everything back down to earth. This particular group did not stay together long, which is a shame. There is the feeling that they are just beginning to become family.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Free Jazz<br>Time - 42:47<br>Format - mp3@192 Kbps<br>Size - 58 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Summer Night (With Crickets)<br>02. Playful Spring: Brass Bow/ The Elephant & The Mosquito<br>03. Aduwa in Autumn<br>04. Winter Rains</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Billy Bang (violin)<br>Toshi Tsuchitori (percussion, autoharp)<br>Masahiko Kono (trombone)<br>William Parker (bass)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Bellows Records, 1980</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/20389079764efec356d41bf">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-3510211252212249837?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-65640711110129227352012-01-02T03:00:00.000-08:002012-01-02T03:00:10.068-08:00Muddy Waters - Electric Mud<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-veH_GXTfpc0/Tv7BY4hQ-vI/AAAAAAAAFN4/Plb5Ju3Ij50/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-6Fv7urC4x4w/Tv7BZuvZ-wI/AAAAAAAAFOA/8CBhMmy6Dkw/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>In an attempt to make Muddy more sellable to his newly found white audience, Chess lumbered him with Hendrix-influenced psychedelic blues arrangements for Electric Mud. Commercially, actually, the results weren't bad; Marshall Chess claims it sold between 150,000 and 200,000 copies. Musically, it was as ill-advised as putting Dustin Hoffman into a Star Wars epic. Guitarists Pete Cosey and Phil Upchurch are very talented players, but Muddy's brand of down-home electric blues suffered greatly at the hands of extended fuzzy solos. Muddy and band overhaul classics like "I Just Want to Make Love to You" and "Hoochie Coochie Man," and do a ludicrous cover of "Let's Spend the Night Together"; wah-wah guitars and occasional wailing soprano sax bounce around like loose basketballs. It's a classically wrongheaded, crass update of the blues for a modern audience. The 1996 CD reissue adds interesting historical liner notes.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Chicago Blues, Regional Blues, Slide Guitar Blues<br>Time - 36:57<br>Format - mp3@256 Kbps<br>Size - 68 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. I Just Want to Make Love to You<br>02. (I'm Your) Hoochie Coochie Man<br>03. Let's Spend the Night Together<br>04. She's Alright<br>05. Mannish Boy<br>06. Herbert Harper's Free Press News<br>07. Tom Cat<br>08. The Same Thing</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Muddy Waters (guitar, vocals)<br>Gene Barge (tenor sax)<br>Pete Cosey, Phil Upchurch, Roland Faulkner (guitar)<br>Louis Satterfield (bass)<br>Charles Stepney (organ)<br>Morris Jennings (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Chess, 1968</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/12272394374efec0df82f33">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-6564071111012922735?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-83774916326884163492012-01-01T03:00:00.000-08:002012-01-01T03:00:10.062-08:00The Art Ensemble of Chicago - Les Stances a Sophie<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-lgfxQm6IVEE/Tvl0LjtTaoI/AAAAAAAAFNo/Tv85aFiOOII/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-o4F_AwuLPcY/Tvl0MROj3SI/AAAAAAAAFNs/Vqhg25Owzgc/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>In 1970, the members of the Art Ensemble of Chicago were living as expatriates in Paris. The group had only recently expanded to its permanent quintet status with the addition of drummer/percussionist Don Moye when they were asked by New Wave director Moshe Misrahi to provide the soundtrack for his movie, Les Stances a Sophie. The music was never used in the film but, luckily, it was recorded. The result was one of the landmark records of the burgeoning avant-garde of the time and, simply put, one of the greatest jazz albums ever. On two of the tracks, the Art Ensemble is joined by vocalist Fontella Bass, at the time the wife of trumpeter Lester Bowie and riding the success of her pop-soul hit Rescue Me. She's featured most prominently on the opening number, Theme De Yoyo, an astounding piece that has achieved legendary status as the finest fusion of funk and avant-garde jazz ever recorded. The mix is indeed seamless, with Moye and Favors laying down a throbbing, infectious groove, Bass singing the surreally erotic lyrics with enormous soul and the horn players soloing with ecstatic abandon. The remaining pieces cover a wide range stylistically with no less beauty and imagination, including two variations on a theme by Monteverdi, intense free improvising and soft, deeply probing sonic investigations.Their extensive knowledge of prior jazz styles, love of unusual sound sources (the so-called "little instruments) and fearless exploration of the furthest reaches of both instrumental and compositional possibilities came into full flower on this record.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Free Jazz, Avant Garde Jazz<br>Time - 33:49<br>Format - mp3@320 Kbps<br>Size - 77 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Theme de Yoyo<br>02. Theme de Celine<br>03. Variations Sur un Theme de Monteverdi I<br>04. Variations Sur un Theme de Monteverdi II<br>05. Proverbes, No. 1<br>06. Theme Amour Universal<br>07. Theme Libre<br>08.Proverbes, No. 2</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Fontella Bass (piano, tambourine, vocals)<br>Joseph Jarman (flute, percussion, alto sax, soprano sax, tenor sax)<br>Roscoe Mitchell (clarinet, flute, percussion, alto sax, soprano sax)<br>Lester Bowie (flugelhorn, percussion, trumpet)<br>Malachi Favors (bass, percussion)<br>Famoudou Don Moye (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Soul Jazz, 1970</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/21468406614ef973c270eaf">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-8377491632688416349?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-24909492660371719092011-12-31T03:00:00.000-08:002011-12-31T03:00:14.149-08:00The Kinks - The Kink Kontroversy<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-nVYBnzPdyJs/TvlvT1x1XHI/AAAAAAAAFNY/YoIQnBj2F-w/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-AcNAvCbw1oM/TvlvUd7HQMI/AAAAAAAAFNc/sjGuOvuuIfs/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The Kinks came into their own as album artists -- and Ray Davies fully matured as a songwriter -- with The Kink Kontroversy, which bridged their raw early British Invasion sound with more sophisticated lyrics and thoughtful production. There are still powerful ravers like the hit "Till the End of the Day" (utilizing yet another "You Really Got Me"-type riff) and the abrasive, Dave Davies-sung cover of "Milk Cow Blues," but tracks like the calypso pastiche "I'm on an Island," where Ray sings of isolation with a forlorn yet merry bite, were far more indicative of their future direction. Other great songs on this underrated album include the uneasy nostalgia of "Where Have All the Good Times Gone?," the plaintive, almost fatalistic ballads "Ring the Bells" and "The World Keeps Going Round," and the Dave Davies-sung declaration of independence "I Am Free." Some mediocre filler detracts from the disc's overall punch, though the CD reissue adds the great swinging London satire hit "Dedicated Follower of Fashion," as well as previously unissued alternate takes of "When I See That Girl of Mine" and "Dedicated Follower of Fashion."</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - British Rock, Contemporary Rock, Hard Rock, Rock & Roll<br>Time - 30:19<br>Format - mp3@192 Kbps<br>Size - 42 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Milk Cow Blues<br>02. Ring the Bells<br>03. Gotta Get the First Plane Home<br>04. When I See That Girl of Mine<br>05. I Am Free<br>06. Till the End of the Day<br>07. The World Keeps Going Round<br>08. I'm on an Island<br>09. Where Have All the Good Times Gone<br>10. It's Too Late<br>11. What's in Store for Me<br>12. You Can't Win</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Dave Davies (guitar, harmonica, keyboards, vocals)<br>Ray Davies (guitar, vocals)<br>Peter Quaife (bass)<br>Mick Avory (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Sanctuary, 1965</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/1151743644ef96ece7608b">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-2490949266037171909?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-14081610434320401002011-12-30T03:00:00.000-08:002011-12-30T03:00:06.065-08:00Eric Dolphy with Booker Little - Far Cry<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-RzbOo8ffP1E/Tvlt1yhBERI/AAAAAAAAFNI/g2l9BWMh5OM/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-OJeghvXOZ34/Tvlt2sojQII/AAAAAAAAFNQ/S0KpIfiiQW8/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Charlie Parker's influence permeates this 1960 session. Beyond the obvious acknowledgment on song titles ("Mrs. Parker of K.C. ['Bird's Mother']" and "Ode to Charlie Parker"), his restless spirit is utilized as a guiding light for breaking bebop molds. Far Cry finds multi-reedist Eric Dolphy in a transitional phase, relinquishing Parker's governing universal impact and diving into the next controversial phase that critics began calling "anti-jazz." On this date Booker Little's lyrical trumpet and Jackie Byard's confident grasp of multiple piano styles (though both steeped in hard bop) were sympathetic to the burgeoning "avant-garde" approach that Dolphy displays, albeit sparingly, on this session. Far Cry contains the initial performance of Dolphy's future jazz classic "Miss Ann," along with his first recorded solo alto sax performance on "Tenderly," in which Dolphy bridges the gap between the solo saxophone performances of Coleman Hawkins and Anthony Braxton.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Avant Garde Jazz, Post Bop, Free Jazz<br>Time - 48:19<br>Format - mp3@192 Kbps<br>Size - 66 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Mrs. Parker of K.C. (Bird's Mother)<br>02. Ode to Charlie Parker<br>03. Far Cry<br>04. Miss Ann<br>05. Left Alone<br>06. Tenderly<br>07. It's Magic<br>08. Serene</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Eric Dolphy (clarinet, flute, alto sax)<br>Booker Little (trumpet)<br>Jaki Byard (piano)<br>Ron Carter (bass)<br>Roy Haynes (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Prestige Records, 1960</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/5913572674ef96d6312f84">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-1408161043432040100?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com2tag:blogger.com,1999:blog-7249285868009844760.post-69108106862819606902011-12-29T03:00:00.000-08:002011-12-29T03:00:09.154-08:00Magic Slim & The Teardrops - Highway Is My Home<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-4NS9VR2i100/Tvlsfwrb9EI/AAAAAAAAFM4/7-NwXhu15Ho/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-D7JMuqSLb3s/TvlsgsE9ngI/AAAAAAAAFM8/02cY5-A7Zk8/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Magic Slim's style is a full-speed-ahead, hard-edged, ragged one, with a deep, sometimes sloppy vocal approach and an equally cutting guitar approach. It is not pretty, flashy, pop-oriented, or even particularly appealing, but it is genuine. The stripped-down Slim sound was mostly on target throughout the 10 tracks (one bonus cut) on this late '70s date originally recorded for Black and Blue. This Evidence CD features Slim being assertive, as close to romantic as he can get, and otherwise powering straight ahead. Only on Elmore James' "The Sky Is Crying" does he sound overwhelmed, more by the song's litany (Albert King's equally transcendent version also looms in the background). Otherwise, blues for the non-crossover set.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Chicago Blues, Modern Blues, Soul Blues, Regional Blues<br>Time - 47:13<br>Format - mp3@320 Kbps<br>Size - 108 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Highway Is My Home<br>02. Living in My Neighborhood<br>03. I Love You Baby<br>04. Country Girl<br>05. Man or Mouse<br>06. Help Me<br>07. I'm Mad<br>08. Tell Me Baby<br>09. The Sky Is Crying<br>10. Something More</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Magic Slim, Alabama Junior (guitar, vocals)<br>Nick Holt (bass)<br>Fred Below (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Evidence, 1978</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/17132981994ef96c0d7f7c1">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-6910810686281960690?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-27558228170347706372011-12-28T03:00:00.000-08:002011-12-28T04:25:56.744-08:00AC/DC - Back In Black<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-D4mGS4tGYm0/TvlrILNknSI/AAAAAAAAFMo/95UOdcUzOig/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-right-width: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-Id1Rlr6D4yM/TvlrIuPdbfI/AAAAAAAAFMs/0MX0mmPlQhE/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The first sound on Back in Black is the deep, ominous drone of church bells -- or "Hell's Bells," as it were, opening the album and AC/DC's next era with a fanfare while ringing a fond farewell to Bon Scott, their late lead singer who partied himself straight to hell. But this implies that Back in Black is some kind of tribute to Scott, which may be true on a superficial level -- black is a funeral cover, hell's bells certainly signify death -- but this isn't filled with mournful songs about the departed. It's a more fitting tribute, actually, since AC/DC not only carried on without him, but they delivered a record that to the casual ear sounds like the seamless successor to Highway to Hell, right down to how Brian Johnson's screech is a dead ringer for Scott's growl. Most listeners could be forgiven for thinking that Johnson was Scott, but Johnson is different than Bon. He's driven by the same obsessions -- sex and drink and rock & roll, basically -- but there isn't nearly as much malevolence in his words or attitude as there was with Scott. Bon sounded like a criminal, Brian sounds like a rowdy scamp throughout Back in Black, which helps give it a real party atmosphere. Of course, Johnson shouldn't be given all the credit for Back in Black, since Angus and Malcolm carry on with the song-oriented riffing that made Highway to Hell close to divine. Song for song, they deliver not just mammoth riffs but songs that are anthems, from the greasy "Shoot to Thrill" to the pummeling "Back in Black," which pales only next to "You Shook Me All Night Long," the greatest one-night-stand anthem in rock history. That tawdry celebration of sex is what made AC/DC different from all other metal bands -- there was no sword & sorcery, no darkness, just a rowdy party, and they never held a bigger, better party than they did on Back in Black.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Album Rock, Arena Rock, Hard Rock, Heavy Metal<br>Time - 42:00<br>Format - mp3@192 Kbps<br>Size - 58 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Hells Bells<br>02. Shoot to Thrill<br>03. What Do You Do for Money Honey<br>04. Givin the Dog a Bone<br>05. Let Me Put My Love into You<br>06. Back in Black<br>07. You Shook Me All Night Long<br>08. Have a Drink on Me<br>09. Shake a Leg<br>10. Rock and Roll Ain't Noise Pollution</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Brian Johnson (vocals)<br>Angus Young, Malcolm Young (guitar)<br>Cliff Williams (bass)<br>Phil Rudd (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Epic, 1980</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/6325058914ef96a9b8119f">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-2755822817034770637?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com3tag:blogger.com,1999:blog-7249285868009844760.post-74275814685789792011-12-27T03:00:00.000-08:002011-12-27T03:00:02.871-08:00City of Glass: Stan Kenton Plays Bob Graettinger<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-7NAki9v2DPI/TvlpqIVT9PI/AAAAAAAAFMY/FZ0UcXNO22s/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-B2IU4yrTnnk/Tvlpq-ou-II/AAAAAAAAFMc/aSAY_PZ0XFI/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Bob Graettinger was arguably the most radical arranger to ever work in jazz. In fact, it is doubtful if any other big-band leader other than Stan Kenton (who always encouraged adventurous writers) would have used his very complex charts during this era. Graettinger's works, which were influenced by aspects of modern classical music (but were not at all derivative) are all included on this fascinating, if difficult, CD reissue. The four-part "City of Glass," the pieces that comprised This Modern World, and a variety of shorter works (including the remarkably dense "Thermopylae") make for some very stimulating listening. This is avant-garde music that still sounds futuristic in the 21st century.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Big Band, Progressive Jazz, Traditional Pop<br>Time - 63:24<br>Format - mp3@256 Kbps<br>Size - 117 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Thermopylae<br>02. Everything Happens To Me<br>03. Incident In Jazz<br>04. House Of Strings<br>05. A Horn<br>06. City Of Glass (First Movement-Part 1): Entrance Into The City<br>07. City Of Glass (First Movement-Part 2): The Structures<br>08. City Of Glass (Second Movement): Dance Before The Mirror<br>09. City Of Glass (Third Movement): Reflections<br>10. Modern Opus<br>11. A Cello<br>12. You Go To My Head<br>13. A Trumpet<br>14. An Orchestra<br>15. A Thought<br>16. Some Saxophones</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Stan Kenton, Hal Schaefer (piano)<br>Art Pepper (clarinet, alto sax)<br>Irving Roth, John Rotella (baritone sax)<br>Bud Shank (flute, alto sax)<br>Bart Varsalona, Bill Russo (trombone)<br>Lennie Niehaus (oboe, alto sax)<br>Ben Zimberoff (violin)<br>Bob Cooper (horn, oboe, tenor sax)<br>Lee Konitz, Herb Geller, Vinnie Dean (alto sax)<br>Sal Salvador, Ralph Blaze, Laurindo Almeida (guitar)<br>Conte Candoli, Pete Candoli, Chico Alvarez (trumpet)<br>Eddie Safranski, Abe Luboff, Don Bagley (bass)<br>George Kast, Jim Holmes, Jasper Hornyak (violin)<br>Eddie Bert, Harry Betts, Bart Barsalone (trombone)<br>Mary Jane Gillan, Zachary Bock, Gregory Bemko (cello)<br>Shelly Manne, Frank Capp (drums, tympani)<br>Phil Davidson, Earl Cornwell, Jimmy Cathcart (violin)<br>George Weidler (alto sax)<br>Warren Weidler (tenor sax)<br>Gene Englund, Stan Fletcher (tuba)<br>Lloyd Otto, John Graas, Fred Fox (french horn)<br>Aaron Shapiro, Sam Singer, Dave Smiley (viola)<br>Don Dennis, John Coppola, Buddy Childers (trumpet)<br>Joe Mondragon (bass)<br>Bob Burgess, Billy Byers, Milt Bernhart (trombone)<br>Gabe Jellen, Casare Pascarella, Jack Wulfe (cello)<br>Barton Gray, Anthony Doria, Lew Elias (violin)<br>George Price (french horn)<br>John Howell, Ken Hanna, Maynard Ferguson (trumpet)<br>Herbert Offner, Charlie Scarle, Dave Schackne (violin)<br>Harry Forbes, Gerald Finch, Bob Fitzpatrick (trombone)<br>Don Paladino, Ruban McFall, Johnny Mandel (trumpet)<br>Keith Moon, Dick Kenney, Johnny Halliburton (trombone)<br>Richie Kamuca, Bill Holman, Lee Elliot (tenor sax)<br>Leonard Selic, Paul Israel, Stanley Harris (viola)<br>Don Lamond, Stan Levey (drums)<br>Alex Law, Maurice Koukel, Seb Mercurio (violin)<br>Al Porcino, Clyde Reasinger, Shorty Rogers (trumpet)<br>Frank Rosolino, George Martimore, George Roberts (trombone)<br>Carl Ottobrino, Dwight Muma, Danny Napolitano (violin)<br>Dick Meldonian (clarinet, alto sax)<br>Ray Wetzel, Stu Williamson (trumpet)<br>Bob Gioga (clarinet, baritone sax)<br>Bart Caldarell (bassoon, clarinet, tenor sax)<br>Carlos Vidal (conga)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Capitol Jazz, 1951</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/3191368574ef9688f139cb">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7427581468578979?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-13613961841652171652011-12-26T03:00:00.000-08:002011-12-26T09:46:15.131-08:00The Complete Recordings of T-Bone Walker 1940-1954<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-zp1Nd3kF5l8/Tviy5ElqqWI/AAAAAAAAFMI/ru0daYmAjDk/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-36uyufZ7JV4/Tviy5hoa-VI/AAAAAAAAFMM/3qRbVOwlKck/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Fifteen years after his death at age 64 from a stroke, Walker's name remains synonymous with Texas blues. Growing up in Dallas, Walker often served as the eyes, or "lead boy," for guitarist Blind Lemon Jefferson. At 14, Walker ran away from home to tour with blues singer Ida Cox and in the years that followed, relied on his skills as a dancer as well as his talents as a musician to earn his keep with various jazz and dance bands. Along with his friend Charlie Christian, Walker was one of the first to explore the full potential of the guitar as an amplified instrument. This six-disc boxed set documents the evolution of Walker's lean, string-popping style on guitar during a period when he was packing black audiences around the country into dance halls on what musicians referred to as the chitlin circuit. Listen to Walker backed by a swing jazz band on the 1945 recording "T-Bone Boogie" and you'll discover where Chuck Berry copped some of his trademark licks. A down-and-dirty alternate take of Walker's signature tune, "Call It Stormy Monday," is paired with the frenetic party-time rendition originally released in 1947. With his 1950 version of his showstopping instrumental "Strollin' with Bone," it helps to imagine Walker in live performance bringing the tune to an abrupt close by doing gymnastic splits. </font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Regional Blues, Texas Blues<br>Time - 405:28<br>Format - mp3@192 Kbps<br>Size - 559 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc I<br>01. T-Bone Blues<br>02. I Got a Break Baby<br>03. Mean Old World<br>04. Low Down Dirty Shame Blues<br>05. Sail On Boogie<br>06. I'm Still in Love With You<br>07. You Don't Love Me Blues<br>08. T-Bone Boogie<br>09. Mean Old World Blues<br>10. Evening<br>11. My Baby Left Me<br>12. Come Back to Me Baby<br>13. I Can't Stand Being Without You<br>14. She Is Going to Ruin Me<br>15. No Worry Blues (alternate take)<br>16. No Worry Blues<br>17. Don't Leave Me Baby (alternate take)<br>18. Don't Leave Me Baby<br>19. Bobby Sox Blues (alternate take)<br>20. Bobby Sox Blues<br>21. I'm Gonna Find My Baby<br>22. I'm in an Awful Mood<br>23. It's a Low Down Dirty Deal<br>24. Don't Give Me the Runaround</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc II<br>01. Hard Pain Blues<br>02. I Know Your Wig Is Gone<br>03. T-Bone Jumps Again<br>04. Call It Stormy Monday (alternate take)<br>05. Call It Stormy Monday<br>06. She Had to Let Me Down (alternate take)<br>07. She Had to Let Me Down<br>08. She's My Old Time Used to Be<br>09. Dream Girl Blues (alternate take)<br>10. Dream Girl Blues<br>11. Midnight Blues (alternate take)<br>12. Midnight Blues<br>13. Long Lost Lover Blues (alternate take)<br>14. Long Lost Lover Blues<br>15. Triflin' Woman Blues (alternate take)<br>16. Triflin' Woman Blues<br>17. Long Skirt Baby Blues (alternate take)<br>18. Long Skirt Baby Blues<br>19. Goodbye Blues<br>20. Too Much Trouble Blues (alternate take)<br>21. Too Much Trouble Blues<br>22. I'm Waiting for Your Call<br>23. Hypin' Woman Blues (alternate take)<br>24. Hypin' Woman Blues</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc III<br>01. So Blue Blues<br>02. On Your Way Blues<br>03. The Natural Blues<br>04. That's Better for Me<br>05. First Love Blues (alternate take)<br>06. First Love Blues<br>07. Lonesome Woman Blues (alternate take 1)<br>08. Lonesome Woman Blues (alternate take 2)<br>09. Lonesome Woman Blues<br>10. Vacation Blues<br>11. Inspiration Blues (alternate take)<br>12. Inspiration Blues<br>13. Description Blues (alternate take)<br>14. Description Blues<br>15. T-Bone Shuffle (alternate take)<br>16. T-Bone Shuffle<br>17. That Old Feeling Is Gone<br>18. The Time Seems So Long<br>19. Prison Blues<br>20. Home Town Blues<br>21. Wise Man Blues (alternate take)<br>22. Wise Man Blues<br>23. Misfortune Blues (alternate take)<br>24. Misfortune Blues</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc IV<br>01. I Wish You Were Mine (alternate take)<br>02. I Wish You Were Mine<br>03. I Gonna Move You Out and Get Somebody Else<br>04. She's the No Sleepin'est Woman (alternate take)<br>05. She's the No Sleepin'est Woman<br>06. Plain Old Down Home Blues<br>07. Born to Be No Good<br>08. Go Back to the One You Love (alternate take)<br>09. Go Back to the One You Love<br>10. I Want a Little Girl<br>11. I'm Still in Love With You<br>12. You're My Best Poker Hand (alternate take)<br>13. You're My Best Poker Hand<br>14. West Side Baby<br>15. Glamour Girl<br>16. Strollin' With Bone<br>17. The Sun Went Down<br>18. You Don't Love Me<br>19. Travelin' Blues<br>20. The Hustle Is On (78 take)<br>21. The Hustle Is On (Lp take)<br>22. Baby Broke My Heart (78 take)<br>23. Baby Broke My Heart (Lp take)<br>24. Evil Hearted Woman</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc V<br>01. Evil Hearted Woman (alternate take)<br>02. I Walked Away<br>03. No Reason (alternate take)<br>04. No Reason<br>05. Look Me in the Eye (Lp take)<br>06. Look Me in the Eye (78 take)<br>07. Too Lazy (78 take)<br>08. Too Lazy (Lp take)<br>09. Alimony Blues<br>10. Life Is Too Short<br>11. You Don't Understand<br>12. Welcome Blues<br>13. I Get So Weary<br>14. You Just Wanted to Use Me<br>15. Tell Me What's the Reason<br>16. I'm About to Lose My Mind<br>17. Cold, Cold Feeling<br>18. News for My Baby<br>19. Get These Blues Off Me<br>20. I Got the Blues Again<br>21. Through With Women<br>22. Street Walking Woman<br>23. Blues Is a Woman<br>24. I Got the Blues</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc VI<br>01. Here in the Dark<br>02. Blue Mood<br>03. Everytime<br>04. I Miss You Baby<br>05. Lollie Lou<br>06. Party Girl<br>07. Love Is a Gamble<br>08. High Society<br>09. Long Distance Blues<br>10. Got No Use for You<br>11. I'm Still in Love With You<br>12. Railroad Station Blues<br>13. Vida Lee<br>14. My Baby Is Now on My Mind<br>15. Doin' Time<br>16. Bye Bye Baby<br>17. When the Sun Goes Down<br>18. Pony Tail<br>19. Wanderin' Heart<br>20. I'll Always Be in Love With You<br>21. I'll Understand<br>22. Hard Way<br>23. Teen Age Baby<br>24. Strugglin' Blues</font></em></p> <p><em><font size="2" face="Trebuchet MS">Credits<br>T-Bone Walker (guitar, vocals)<br>Lee Allen, Walter Cox, Eddie Lockjaw Davis (tenor sax)<br>Dave Bartholomew, John Buckner, Teddy Buckner (trumpet)<br>Cornelius Coleman, Dave Coleman, Oscar Lee Bradley (drums)<br>Arthur Edwards, George DeNaut, John W. Davis (bass)<br>Baby Davis, Tiny Brown (vocals)<br>Edward Hale, Lee Gross, Wendell DuConge (alto sax)<br>Allen Durham, Britt Woodman (trombone)<br>Tommy Kahn, Lloyd Glenn, T.J. Fowler (piano)<br>Sol Moore, Herbert Hardesty (baritone sax)<br>R.S. Rankin, Walter Nelson, Frank Pasley (guitar)<br>Jim Wynn (baritone sax, tenor sax)<br>Maxwell Davis, Roger Hurd, Quedillas Martin (tenor sax)<br>Eddie Hutcherson, Paul Campbell, Joe Red Kelly (trumpet)<br>Clarence Stamp, Rabon Tarrant, Robert Sims (drums)<br>Henry Ivory, William Hadnott, Frank Fields (bass)<br>Floyd Turnham, Les Hite (alto sax)<br>Freddie Slack, Willard McDaniel, Zell Kindred (piano)<br>Hubert Myers, Jack McVea (tenor sax)<br>George Orendorff, John Lawton, Al Killian (trumpet)<br>Frank Clarke, Buddy Woodson, Al Morgan (bass)<br>Marl Young, Nat Walker (piano)<br>Walter Williams, Jack Trainor, Forest Powell (trumpet)</font></em><br></p> <p align="justify"><em><font size="2" face="Trebuchet MS"></font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Mosaic, 1990</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/8703950284ef8b16604829">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-1361396184165217165?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-90051726701670638422011-12-25T10:55:00.001-08:002011-12-25T10:55:42.037-08:00FElices fiestas para todos!!!<p><a href="http://lh3.ggpht.com/-Ci8l8SwoMfs/TvdxqgtZ8jI/AAAAAAAAFL4/ovvlITZASHg/s1600-h/felicitacion16.jpg"><img style="background-image: none; border-right-width: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="felicitacion1" border="0" alt="felicitacion1" src="http://lh4.ggpht.com/-d8dI2H0o0YM/TvdxrNzo8_I/AAAAAAAAFL8/aYy5D1-r2-g/felicitacion1_thumb4.jpg?imgmax=800" width="529" height="423"></a></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-9005172670167063842?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com9tag:blogger.com,1999:blog-7249285868009844760.post-10296193694404762512011-12-25T03:00:00.000-08:002011-12-25T10:20:14.948-08:00Lennie Tristano - Crosscurrents<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-YoVkwnv_4uw/TvdpW_rZAxI/AAAAAAAAFLo/wjTA5_Syiqc/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-qemD9Q0o8do/TvdpXbuDxZI/AAAAAAAAFLs/lx8fJ-LcvJk/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Even though the music on this LP has yet to be made available on CD, it gets the highest rating because the performances are so unique. Pianist Lennie Tristano is heard with his finest group, a sextet with altoist Lee Konitz, tenor-saxophonist Warne Marsh, guitarist Billy Bauer, bassist Arnold Fishkin, and either Harold Granowsky or Denzil Best on drums. Their seven selections include some truly remarkable unisons on "Wow," memorable interplay by the horns on "Sax of a Kind," and the earliest examples of free improvisation in jazz: "Intuition" and "Digression." In addition, the set features clarinetist Buddy DeFranco with vibraphonist Teddy Charles in a sextet on three numbers and backed by a big band for two others. "Intuition" represents the first collective improvisation in the history of recorded jazz. Only the order in which the instruments would enter was determined beforehand. Everything else was created on the fly. Tristano had been experimenting with this type of total improv in private, and now put it on record at this path-breaking 1949 session. This song was a radical move in the 1940s, and still sounds futuristic today. Put this up on the shelf with other Tristano breakthroughs, including the first recorded example of atonal piano jazz, and that earth-shattering version of "I Can't Get Started" from 1946. But this artist's recorded legacy is more than a matter of being first. The sheer brilliance of Tristano's conception is evident time and time again on these seminal recordings. Why this artist doesn't figure more prominently in the jazz history books remains one of the great mysteries of 20th-century music. </font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Bop, Cool, Avant Garde Jazz<br>Time - 20:43<br>Format - mp3@320 Kbps<br>Size - 47 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Wow<br>02. Cross Current<br>03. Yesterdays<br>04. Marionette<br>05. Sax of a Kind<br>06. Intuition<br>07. Digression</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Lennie Tristano (piano)<br>Lee Konitz (alto sax)<br>Warne Marsh (tenor sax)<br>Billy Bauer (guitar)<br>Arnold Fiskin (bass)<br>Harold Granowsky, Denzil Best (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Capitol, 1949</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/4042286474ef768c9c8764">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-1029619369440476251?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-48920031305681572952011-12-24T03:00:00.000-08:002011-12-25T10:12:06.749-08:00Twink - Think Pink<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-12DYzIg5vx8/Tvdnc28v6TI/AAAAAAAAFLY/-czUH15HY-A/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-D1mtcfE0St8/TvdndW9IxqI/AAAAAAAAFLg/4pnqKeckVcc/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>As far as overlooked geniuses of the U.K. psychedelic underground go, the man known as Twink certainly belongs on the shelf alongside Kevin Ayers, Kevin Coyne, Syd Barrett, and Robert Wyatt. As drummer for the Pretty Things and, later, the Deviants, as well as being one-half of Shagrat with Steve Peregrin Took, Twink was integral in the creation of some of the U.K. psychedelic underground's most brilliant artifacts. His Think Pink session contains the classic Twink tracks "The Sparrow Is a Sign" and "The Coming of the Other One," which were cut with Steve Peregrin Took of Tyrannosaurus Rex fame. Incidentally, both tracks appear on the Shagrat album that was only officially released in 2001: Pink Jackets Required, which plays the sister album to the Twink solo outing in question. Think Pink is an incredibly varied album with no two songs resembling each other, but then one assumes an acid masterpiece like "Ten Thousand Words in a Cardboard Box" will stay on high rotation for at least a week on the stereos of most psychedelia fans, so overall album flow may not be such an issue. This is pure psychedelic acid rock of the highest order. If one can imagine a fusion of the Incredible String Band, Deviants, early Pink Floyd, and a fair dose of Twink's heredity as a member of Tomorrow and the Pretty Things, you get an idea of what he was up to. Not known for doing things in halves, he shows little restraint in the assembly of a group designed to tear the roof of the psychedelic scene. The band was made up of the Deviants guitarist Paul Rudolph -- the U.K. equivalent of Fred "Sonic" Smith -- who provides the most astonishing fuzz freak-outs and arrangements on the album. Other players included Viv Prince; Wally Waller; John Povey; Victor Unitt; Deviants bassist Honk; John Wood of Tomorrow; and, of course, the not-to-be underestimated contributions from Steve Peregrin Took. Regardless of the connotations the term "psychedelic" carries with it, it's not all Pink Fairies and Tolkien. Things get ominous and dark on "Fluid" and "I Remember Nothing"; then, by the first half of the album, the mind is expanded enough to take in side two, where the presence of Steve Took really starts to come into play. His brilliant "The Sparrow Is a Sign" is a psychedelic anthem that is worth acquiring the album for alone. Essential stuff, not to be missed by those following the U.K. underground psychedelic scene circa 1968-1972.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Psychedelic<br>Time - 37:11<br>Format - mp3@256 Kbps<br>Size - 68 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. The Coming of the One<br>02. Ten Thousand Words in a Cardboard Box<br>03. Dawn of Majic<br>04. Tiptoe on the Highest Hill<br>05. Fluid<br>06. Mexican Grass War<br>07. Rock and Roll the Joint<br>08. Suicide<br>09. Three Little Piggies<br>10. The Sparrow Is a Sign</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Twink (drums, vocals)<br>Wally Allen (piano)<br>John Povey (mellotron, sitar)<br>Paul Rudolph (chimes, guitar, bass, percussion, vibraphone, vocals)<br>Steve Peregrine Took (guitar, percussion, vocal effect, vocals)<br>John Wood (bass)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Akarma, 1970</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/6402617924ef7670c54831">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-4892003130568157295?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-21470602615443122762011-12-23T03:00:00.000-08:002011-12-25T10:05:40.815-08:00Miles Davis and the Modern Jazz Giants<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-mdhonCqquFk/Tvdl8OIobRI/AAAAAAAAFLI/WK32RYkkmv0/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-M2l-msoCLj4/Tvdl8meCCLI/AAAAAAAAFLQ/mP65yRIif60/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Including sessions recorded the same day as those on Bags Groove, this album includes more classic performances from the date that matched together trumpeter Miles Davis, vibraphonist Milt Jackson, pianist Thelonious Monk, bassist Percy Heath, and drummer Kenny Clarke. Davis and Monk actually did not get along all that well, and the trumpeter did not want Monk playing behind his solos. Still, a great deal of brilliant music occurred on the day of their encounter, including "The Man I Love," "Bemsha Swing," and "Swing Spring."</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Hard Bop, Trumpet Jazz<br>Time - 42:14<br>Format - mp3@192 Kbps<br>Size - 58 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. The Man I Love (Take 2)<br>02. Swing Spring<br>03. 'Round Midnight<br>04. Bemsha Swing<br>05. The Man I Love (Take 1)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Miles Davis (trumpet)<br>John Coltrane (tenor sax)<br>Milt Jackson (vibraphone)<br>Thelonious Monk, Red Garland (piano)<br>Percy Heath, Paul Chambers (bass)<br>Kenny Clarke, Philly Joe Jones (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Prestige, 1956</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/6202559674ef7657327d0a">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-2147060261544312276?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-7663126445550160462011-12-22T03:00:00.000-08:002011-12-25T09:54:49.915-08:00Taj Mahal - Señor Blues<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-TaEiNvMDHX0/TvdjZujD5_I/AAAAAAAAFK4/yH107g1nr_w/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-lgSWPNTj1B0/TvdjaA57H_I/AAAAAAAAFK8/T17bjMTiQ5E/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Señor Blues is one of Taj Mahal's best latter-day albums, a rollicking journey through classic blues styles performed with contemporary energy and flair. There's everything from country-blues to jazzy uptown blues on Señor Blues, and Taj hits all of areas in between, including R&B and soul. Stylistically, it's similar to most of his albums, but he's rarely been as effortlessly fun and infectious as he is here. Won the 1998 Grammy Award for Best Contemporary Blues Album.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Contemporary Blues, Acoustic Blues, Country Blues<br>Time - 51:43<br>Format - mp3@192 Kbps<br>Size - 71 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Queen Bee<br>02. Think<br>03. Irresistible You<br>04. Having a Real Bad Day<br>05. Señor Blues<br>06. Sophisticated Mama<br>07. Oh Lord, Things Are Gettin' Crazy up Here<br>08. I Miss You Baby<br>09. You Rascal You<br>10. Mind Your Own Business<br>11. 21st Century Gypsy Singin' Lover Man<br>12. At Last (I Found a Love)<br>13. Mr. Pitiful</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Taj Mahal (vocals, harmonica, dobro, kazoo)<br>Johnny Lee Schell (guitar)<br>Jon Cleary (piano)<br>Mick Weaver (hammond B3)<br>Larry Fulcher (bass)<br>Darrell Leonard (trumpet, trombone, french horn)<br>Joe Sublett (tenor saxophone)<br>Tony Braunagel (drums, percussion, tambourine)<br>Sir Harry Bowens, Donna Taylor, Terrence Forsythe (background vocals)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Private Music, 1997</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/3886223074ef7625f4af6f">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-766312644555016046?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-72065400802026550732011-12-21T03:00:00.000-08:002011-12-25T09:36:54.176-08:00The Beach Boys Today!<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-9bpr21KmzXY/TvdfMrKxT4I/AAAAAAAAFKo/1FRiirM-efg/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-iHQDeOP393A/TvdfNfyfcBI/AAAAAAAAFKs/P42jdPsiMbs/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Today! was the first Beach Boys album released after Brian had retired from the touring Beach Boys group. It is unusual in that it is split into an up-tempo Side A and a Side B filled with romantic ballads. Both sides show a major advance in production, compared to the group's previous work, and indeed, when compared to the current work of the Beatles and other rock groups of that era. With the hindsight of forty years, Today! should now be seen as work, standing in good company with other classics of that era. The first half of the album consists of three big USA hits, Dance, Dance, Dance, Do You Wanna Dance? and When I Grow Up (To Be A Man), the last of these being the highlight with its reflective lyric and powerful production. The real meat on this album is on the ballads side, where the theme seems to be someone leaving the hedonistic teenage and realising that love is more than just a game, as well as their own deep emotions. Mike Love's lyric on Please Let Me Wonder reflects all of this very well. The album has two weak points- the early version of Help Me Ronda doesn't have the same power as the hit single, with the volume fades at the end somewhat offputting, while the album ends with another "talk" track of little consequence-Bull Session With Big Daddy..Had these two tracks been stronger, this would have been a "perfect" album- even despite them, it is still very, very good.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Sunshine Pop, Baroque Pop, Contemporary Rock, AM Pop<br>Time - 28:25<br>Format - mp3@320 Kbps<br>Size - 66 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Do You Wanna Dance<br>02. Good to my Baby<br>03. Don't Hurt My Little Sister<br>04. When I Grow Up (To Be a Man)<br>05. Help Me, Rhonda<br>06. Dance, Dance, Dance<br>07. Please Let Me Wonder<br>08. I'm So Young<br>09. Kiss Me, Baby<br>10. She Knows Me Too Well<br>11. In the Back of my Mind<br>12. Bull Session with the Big Daddy</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Brian Wilson (vocals, bass, organ, harpsichord, piano, percussion)<br>Carl Wilson, Al Jardine (guitar, vocals)<br>Dennis Wilson (drums, vocals)<br>Mike Love (vocals)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Capitol, 1965</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/13270701784ef75e8903477">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7206540080202655073?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-2275325898599839062011-12-20T03:00:00.000-08:002011-12-25T09:20:19.410-08:00Wynton Marsalis - All Rise<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-uzVj6koWgGo/TvdbUFP21SI/AAAAAAAAFKY/-laWLVu-ixk/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-3c_3r8N7Mo8/TvdbUov0lDI/AAAAAAAAFKc/8kB9-syxzLI/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Originally conceived for Kurt Masur and the New York Philharmonic in 1999 as a new millennium piece, this outlandishly scaled, exuberantly eclectic, 106-minute monster work for chorus, symphony orchestra, and jazz big band soon became known as a symbol of something completely different. Just two days prior to a scheduled performance by Marsalis, the Lincoln Center Jazz Orchestra, Esa-Pekka Salonen, and the Los Angeles Philharmonic at the Hollywood Bowl in 2001, the terrorists of September 11 struck -- and the performance (and subsequent recording with these forces) became a memorial, almost a catharsis, to a terrifying event. Yet "All Rise" would have been a special work in Marsalis' output even without the historical context. Though not quite as lengthy as "Blood on the Fields," "All Rise" nevertheless is the most ambitious thing that Marsalis had written up to this time, a piece that brazenly tries to embrace the whole world (to cite Gustav Mahler's definition of a symphony) and succeeds better than one thought it might. It is also the most fascinating and enjoyable of Marsalis' concert pieces, where the listener shares the composer's delight in opening himself up to new sonic experiences that his highly debatable pronouncements on jazz have long ignored. Cast in 12 movements, the piece is supposed to have been built upon the example of the humble 12-bar blues, but actually, as in other Marsalis concert pieces like "Fields" and "Big Train," the primary driving force is Duke Ellington -- and, to some extent, Charles Mingus. Yet Wynton also throws his classical experiences into the mix, including neo-classical Stravinsky and neo-Baroque brass. He even attempts a string fugue in "Movement 4"; it's stillborn, running in place, but you end up admiring his moxie and his deflating wit in the movement's subtext ("We discover we can do wonderful things, get the big head, and get lost in a labyrinth of our own magnificence"). He mines Cuban and Argentinean rhythms, he includes gospel strains, and he doesn't forget to include stretches of the straightforward neo-bop style that brought him to the world's attention in the first place. He is also very generous with the solos, handing them out to his colleagues in the LCJO while taking one extended coruscating turn himself in "Movement 5." Ultimately, the resonances between this work and September 11 are uncanny. In "Movement 5," following a sequence of war-like drumming, the chorus screams and sings the words, "Save us, O Lord" -- which hit painfully close to home to the Bowl audience. And in the end, the sudden coda -- played in Marsalis' most joyous Dixieland manner -- was a release, like the close of a wake. Even if you have resisted Marsalis' more pretentious concert music in the past, this two-CD set may well make you a believer.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Trumpet Jazz, Classical<br>Time - 106:10<br>Format - mp3@224 Kbps<br>Size - 181 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc I<br>01. Jubal Step<br>02. A Hundred and a Hundred, a Hundred and Twelve<br>03. Go Slow (But Don't Stop)<br>04. Wild Strumming of Fiddle<br>05. Save Us<br>06. Cried, Shouted, Then Sung<br>07. Look Beyond<br>08. The Halls of Erudition & Scholarship</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc II<br>01. El 'Gran' Baile de la Reina<br>02. Expressbrown Local<br>03. Saturday Night Slow Drag<br>04. I Am (Don't You Run From Me)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Wynton Marsalis, Marcus Printup (trumpet)<br>Joe Temperley (baritone sax)<br>Wes Anderson, Ted Nash (alto sax)<br>Esa-Pekka Salonen (conductor)<br>Seneca Black, Ryan Kisor (trumpet)<br>Walter Blanding (tenor sax)<br>Norm Pearson (tuba)<br>Nathan Carter, Paul Smith (choir director)<br>Morgan State University Choir (choir)<br>Kenneth Alston (tenor vocals)<br>Vincent Gardner, Ron Westray (trombone)<br>Victor Goines (clarinet)<br>Miranda Richardson, Cynthia Hardy, Issachah Savage (vocals)<br>Lincoln Center Jazz Orchestra (orchestra)<br>Los Angeles Philharmonic Orchestra (orchestra)<br>Rodney Whitaker (bass)<br>Jason Marsalis (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Sony, 2002</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/8652342474ef75a9da4871">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-227532589859983906?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-30127861438080533032011-12-19T03:00:00.000-08:002011-12-25T09:03:04.771-08:00The Holmes Brothers - Simple Truths<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-Z0d_6zIIgRU/TvdXRBoD8yI/AAAAAAAAFKI/zf6Q-WNURks/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-jKOJyf_9PYE/TvdXRq0gzRI/AAAAAAAAFKQ/UAh0KO53D_s/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The return to disc of New York's favorite sons, the Holmes Brothers, is a welcome one. Indeed, while fans know what to expect -- a killer mélange of soul, blues, gospel, and funk -- those combinations are always surprising. Sherman and Wendell Holmes and drummer/vocalist Popsy Dixon have opted to work with producer Craig Street (Cassandra Wilson, Joe Henry, Me'Shell NdegéOcello) this time out and enlist a few guests in the guise of pedal steel boss Greg Leisz, bassist David Pilch from the Bill Frisell Band, guitarist Chris Bruce, and the inimitable Patrick Warren on pump organ. The program is one of the most adventurous the band has ever attempted on record, but all of these songs become vehicles for the rootsy, sweet, and deeply emotional Holmes Brothers treatment. The covers are revelatory in scope, including easily the most moving read of Townes Van Zandt's "If I Needed You" ever committed to tape. But it doesn't stop there; they give a similar -- albeit rowdier -- treatment to Hank Williams' "I'm So Lonesome I Could Cry." In addition, the band covers Willie Nelson's classic "Opportunity to Cry" and Gillian Welch's "Everything Is Free" in a late-night fireplace version that makes the songwriter's version sound clinical. But before one gets the idea that this is the Holmes Brothers' alt.country disc, a Delta blues-styled reading of Bob Marley's "Concrete Jungle" and a smoking, roiling, bluesed-out two-step version of the Smith and Dixon R&B stalwart "Big Boss Man" should put those assumptions to rest. But it's Sherman and Wendell's songs that bring the most satisfaction. Wendell's "We Meet, We Part, We Remember" is the greatest pure soul tune recorded thus far in the 21st century. With its Impressions-styled chorus and its James Carr cadence it rips the skin off. His rollicking electric country blues number "You Won't Be Livin' Here Anymore" sounds like an urban garage version of "Big River," and the deep blue Mississippi Delta chamber song "I'm So Lonely" by Sherman closes the record on a mournful whisper that underscores the transcendent message in all Holmes Brothers outings: that no matter who they are and what their circumstances are, people share one great desire, to be loved just for who they are. Sound syrupy? Sound hopelessly out of touch with the times? Then maybe the times need to change, because music like this deserves to be played from every open window. This is the first great record of 2004.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Soul Blues, Gospel, Soul, Black Gospel, Southern Gospel, Retro Soul<br>Time - 51:05<br>Format - mp3@320 Kbps<br>Size - 117 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Run Myself Out of Town<br>02. Shine<br>03. We Meet, We Part, We Remember<br>04. If I Needed You<br>05. Hey Baby<br>06. I'm So Lonesome I Could Cry<br>07. Everything Is Free<br>08. Big Boss Man<br>09. Opportunity to Cry<br>10. Concrete Jungle<br>11. You Won't Be Livin' Here Anymore<br>12. He'll Have To Go<br>13. I'm So Lonely</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Wendell Holmes (acoustic guitar, electric guitar, piano, vocals)<br>Greg Leisz guitar (acoustic guitar, lap steel guitar, national steel guitar)<br>Chris Bruce (acoustic guitar, electric guitar)<br>Sherman Holmes (bass, vocals)<br>David Piltch (bass)<br>Popsy Dixon (drums, vocals)<br>Patrick Warren (organ)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Alligator Records, 2004</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/13537817094ef75689f07ac">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-3012786143808053303?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-59382248475533937142011-12-18T03:00:00.000-08:002011-12-25T08:47:13.110-08:00Michael Formanek - Wide Open Spaces<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-8styiH15obw/TvcFe_VF-VI/AAAAAAAAFJ4/DqgGlif0u-w/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-right-width: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-VX4TeTW9Q18/TvcFff7OwiI/AAAAAAAAFKA/3ixSFVGdaHE/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Bassist Michael Formanek, who contributed all 15 selections to this album (some of which are quite brief), utilizes an adventurous quintet also including Greg Osby on alto and soprano, violinist Mark Feldman, guitarist Wayne Krantz, and drummer Jeff Hirshfield. The very distinctive voices of Osby and Feldman, the quirky melodies (some of which sound as if they could have been written by Ornette Coleman), and the consistent surprises make this memorable set highly recommended to open-eared listeners.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Avant Garde Jazz, Modern Creative, Post Bop<br>Time - 55:00<br>Format - mp3@192 Kbps<br>Size - 75 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Edge to Edge<br>02. Yahoo Justice<br>03. Fantasy Space<br>04. Wide Open Spaces<br>05. The Sage<br>06. Cloak and Dagger<br>07. Wild Dreams<br>08. Coffee Time<br>09. Home, at Home<br>10. Slothdancing<br>11. Outerlude<br>12. Razing Walls<br>13. Ancestral Voices<br>14. Edge to Edge<br>15. Open Door</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Michael Formanek (bass)<br>Greg Osby (alto sax, soprano sax)<br>Wayne Krantz (guitar)<br>Mark Feldman (violin)<br>Jeff Hirshfield (drums)<br>Vic Firth (drum sticks)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Enja, 1990</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/15553036434ef7050427ff6">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-5938224847553393714?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-14012120690300492102011-12-17T03:00:00.000-08:002011-12-25T03:06:00.244-08:00Peter Gabriel 3<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-j-iZIn6AVLA/TvcDlfhjX8I/AAAAAAAAFJo/UZXq92zrMqk/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-EWu7sLC3f1A/TvcDl14i0sI/AAAAAAAAFJs/zkOnqkXs_zA/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Generally regarded as Peter Gabriel's finest record, his third eponymous album finds him coming into his own, crafting an album that's artier, stronger, more song-oriented than before. Consider its ominous opener, the controlled menace of "Intruder." He's never found such a scary sound, yet it's a sexy scare, one that is undeniably alluring, and he keeps this going throughout the record. For an album so popular, it's remarkably bleak, chilly, and dark -- even radio favorites like "I Don't Remember" and "Games Without Frontiers" are hardly cheerful, spiked with paranoia and suspicion, insulated in introspection. For the first time, Gabriel has found the sound to match his themes, plus the songs to articulate his themes. Each aspect of the album works, feeding off each other, creating a romantically gloomy, appealingly arty masterpiece. It's the kind of record where you remember the details in the production as much as the hooks or the songs, which isn't to say that it's all surface -- it's just that the surface means as much as the songs, since it articulates the emotions as well as Gabriel's cubist lyrics and impassioned voice. He wound up having albums that sold more, or generated bigger hits, but this third Peter Gabriel album remains his masterpiece.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Contemporary Rock, Alternative Rock, Indie Rock, Art Rock, Experimental Rock<br>Time - 38:02<br>Format - mp3@320 Kbps<br>Size - 87 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Intruder<br>02. No Self-Control<br>03. Start<br>04. I Don't Remember<br>05. Family Snapshot<br>06. And Through the Wire<br>07. Games Without Frontiers<br>08. Not One of Us<br>09. Lead a Normal Life<br>10. Biko</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Peter Gabriel (piano, synthesizer, vocals, background vocals, whistle)<br>Robert Fripp, Dave Gregory, Paul Weller (guitar)<br>David Rhodes (guitar, background vocals)<br>John Giblin (bass)<br>Dick Morrissey (saxophone)<br>Kate Bush (background vocals)<br>Phil Collins (drums)<br>Jerry Marotta (drums, percussion)<br>Morris Pert (percussion)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Real World Records, 1980</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/5865181824ef702f55afa2">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-1401212069030049210?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-78752756595087942782011-12-16T03:00:00.000-08:002011-12-25T02:55:03.685-08:00Eberhard Weber - The Following Morning<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-1yszKQC5VM8/TvcBAzq2qbI/AAAAAAAAFJY/EYNv30MalEs/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-6vUdE2zeUlk/TvcBBSx8MRI/AAAAAAAAFJg/qjYGSBFbsAo/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The absence of a drummer deprives "The Following Morning" of some of the drive and rhythmic shadings of other Weber releases. In some ways this is a more contemplative work, lingering longer upon the tones of the individual instruments. The title track opens with backwards piano and slides into a pensive rumination between the piano and Weber's bass. There is only the tentative presence of orchestral instruments, and the album is quite subtle and slow to unfold. You might not pick up this album as often as some other Weber releases, but it can reward close listening.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Post Bop, World Fusion<br>Time - 40:49<br>Format - mp3@320 Kbps<br>Size - 93 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. T. On a White Horse<br>02. Moana I<br>03. The Following Morning<br>04. Moana II</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Eberhard Weber (bass, cello)<br>Rainer Bruninghaus (keyboards, piano)<br>Charlie Mariano (saxophone)<br>Oslo Philharmonic Orchestra (cello, french horn, oboe)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>ECM, 1976</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/7458773784ef70091329cd">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7875275659508794278?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-91427355136058976702011-12-15T03:00:00.000-08:002011-12-25T02:47:55.430-08:00Ray Charles - The Birth Of Soul: The Complete Atlantic Rhythm & Blues Recordings, 1952-1959 [Box Set]<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-kX8YEQXe9bc/Tvb_V7RKF_I/AAAAAAAAFJI/h9H7tcNkTPs/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-1bGTENbHf2I/Tvb_WYKrHJI/AAAAAAAAFJQ/JKFDd0S5p8Q/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The title isn't just hype -- this absolutely essential three-disc box is where soul music first took shape and soared, courtesy of Ray Charles' church-soaked pipes and bedrock piano work. Brother Ray's formula for inventing the genre was disarmingly simple: he brought gospel intensity to the R&B world with his seminal "I Got a Woman," "Hallelujah I Love Her So," "Leave My Woman Alone," "You Be My Baby," and the primal 1959 call-and-response classic "What'd I Say." There's plenty of brilliant blues content within these 53 historic sides: Charles' mournful "Losing Hand," "Feelin' Sad," "Hard Times," and "Blackjack" ooze after-hours desperation. No blues collection should be without this boxed set, which comes with well-researched notes by Robert Palmer, a nicely illustrated accompanying booklet, and discographical info aplenty.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rhythm & Blues<br>Styles - Early Rhythm & Blues, Piano Blues, Soul, Urban Blues, Jazz Blues<br>Time - 148:48<br>Format - mp3@192 Kbps<br>Size - 210 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc I<br>01. The Sun's Gonna Shine Again<br>02. Roll with My Baby<br>03. The Midnight Hour<br>04. Jumpin' in the Morning<br>05. It Should've Been Me<br>06. Losing Hand<br>07. Heartbreaker<br>08. Sinner's Prayer<br>09. Mess Around<br>10. Funny (But I Still Love You)<br>11. Feelin' Sad<br>12. I Wonder Who<br>13. Don't You Know<br>14. Nobody Cares<br>15. Ray's Blues<br>16. Mr. Charle's Blues<br>17. Blackjack</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc II<br>01. I Got a Woman<br>02. Greenbacks<br>03. Come Back Baby<br>04. A Fool for You<br>05. This Little Girl of Mine<br>06. Hard Times (No One Knows Better Than I)<br>07. A Bit of Soul<br>08. Mary Ann<br>09. Drown in My Own Tears<br>10. Hallelujah, I Love Her So<br>11. What Would I Do Without You<br>12. Lonely Avenue<br>13. I Want to Know<br>14. Leave My Woman Alone<br>15. It's Alright<br>16. Ain't That Love<br>17. Get on the Right Track Baby<br>18. Rockhouse, Parts 1 & 2</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc III<br>01. Swanee River Rock (Talkin' 'Bout That River)<br>02. That's Enough<br>03. Talkin' About You<br>04. What Kind of Man Are You<br>05. I Want a Little Girl<br>06. Yes, Indeed!<br>07. I Had a Dream<br>08. You Be My Baby<br>09. Tell All the World About You<br>10. My Bonnie<br>11. Early in the Morning<br>12. Night Time Is the Right Time<br>13. Carryin' the Load<br>14. Tell Me How Do You Feel<br>15. What'd I Say, Parts 1 & 2<br>16. Tell the Truth<br>17. I'm Movin' On<br>18. I Believe to My Soul</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Ray Charles (keyboards, organ, piano, electric piano, vocals)<br>Marcus Belgrave, Jesse Drakes, Lee Harper (trumpet)<br>Mickey Baker, Edgar Blanchard, Wesley Jackson (guitar)<br>Jimmy Bell, Frank Fields, Lloyd Lambert (bass)<br>Warren Bell, Emmett Dennis, Cecil Payne (baritone sax)<br>Glenn Brooks, Teagle Fleming, Panama Francis (drums)<br>Mongo Santamaría, Candido Camero (conga)<br>The Cookies, Mary Ann Fisher, Margie Hendrix (vocals)<br>Hank Crawford (alto sax, baritone sax)<br>Auguste DuPont, O'Neil Gerald (alto sax)<br>Warren Hebrew, Sam Taylor, Joe Tillman (tenor sax)<br>Dave McRae (baritone sax, saxophone)<br>Freddie Mitchell, Pinky Williams (saxophone)<br>David Newman (alto sax, baritone sax, tenor sax)<br>Ricky Harper, John Hunt, Frank Mitchell (trumpet)<br>Roosevelt Sheffield, Lloyd Trotman, Paul E. West (bass)<br>Connie Kay, Oscar Moore, William Peebles (drums)<br>The Raelettes (vocals)<br>Don Wilkerson (tenor sax)<br>Charles Whitley, Joshua Willis, Wallace Davenport (trumpet)<br>Edgar Willis (bass)<br>Alonzo Stewart, Milt Turner, Richie Goldberg (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Orbis, 1993</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/9145790274ef6ff419dc5b">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-9142735513605897670?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-76162623771028506732011-12-14T03:00:00.000-08:002011-12-25T02:25:04.532-08:00Kraftwerk 1<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-iG9b3NcAp_4/Tvb5_Q8AYUI/AAAAAAAAFI4/c1PEuyGUQLk/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-q_GyWOCSUoo/Tvb5_xO8JtI/AAAAAAAAFI8/LE0BHzHZsQI/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>What might have been simply seen as an agreeable enough debut album has since become something of a notorious legend because Kraftwerk, or more accurately the core Hütter/Schneider duo at the heart of the band, simply refuses to acknowledge its existence any more. What's clearly missing from Kraftwerk is the predominance of clipped keyboard melodies that later versions of the band would make their own. Instead, Kraftwerk is an exploratory art rock album with psych roots first and foremost, with Conny Plank's brilliant co-production and engineering skills as important as the band performances. Still, Hütter and Schneider play organ and "electric percussion" -- Hütter's work on the former can especially be appreciated with the extended opening drone moan of the all-over-the-place "Stratovarius," combined with Schneider's eerie violin work. But it's a different kind of combination and exploration, with the key pop sugar (and vocal work) of later years absent in favor of sudden jump cuts of musique concrète noise and circular jamming as prone to sprawl as it is to tight focus. Having never been given an authorized CD re-release, and long since out of print on vinyl, Kraftwerk only came to wider notice again in 1993 as part of the bootleg series that also resulted in the appearance of the early Neu! albums. The connection is important, given that Neu!'s Klaus Dinger is one of the two drummers; the roots of the motorik trance and tripped-out ambient wash of the later band can clearly be heard throughout. "Ruckzuck," with its repetitive flute mantra from Schneider and the initial groove suddenly turned into a stuttering, nervous freakout, is merely one demonstration, as is the steady rise-and-fall of feedback and flute at the end of "Megaherz." As a smart reference, there's an actual picture of a "kraftwerk" -- a power station -- in the gatefold art.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Electronic<br>Styles - Experimental Electronic, Kraut Rock<br>Time - 39:34<br>Format - mp3@192 Kbps<br>Size - 54 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Ruckzuck<br>02. Stratovarius<br>03. Megaherz<br>04. Vom Himmel Hoch</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Florian Schneider (drums, flute, keyboards, percussion, strings, violin, vocals, woodwind)<br>Ralf Hütter (drums, keyboards, organ, strings, vocals, woodwind)<br>Klaus Dinger (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Philips, 1970</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/14071836334ef6f97b60153">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7616262377102850673?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com2tag:blogger.com,1999:blog-7249285868009844760.post-80909256591154198822011-12-13T03:00:00.000-08:002011-12-25T02:18:36.627-08:00Pat Metheny & Lyle Mays - As Falls Wichita, So Falls Wichita Falls<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-KzGmhp9evYk/Tvb4eBYrY3I/AAAAAAAAFIo/Cex9gw9Pf5U/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-s9KOU-_CfMw/Tvb4eoGeuUI/AAAAAAAAFIw/ROD51vxI_4Y/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The regrettable title aside, this joint solo effort by Metheny and regular pianist and collaborator Lyle Mays is an impressive outing. In the process of stretching out away from the confines of the quartet setting of prior albums, Metheny and Mays presage the sleeker and more ethereal sound of the band's Geffen years on portions of the title track. And while this side-long number has some dreamy moments, it also bogs down in a trite climax or two; one gets the sense of a jazz fusion and prog rock marriage Metheny luckily never fully explored. Minor flaws, really, since the piece holds together in spite of the worrisome lapses of taste. The balance of the album is just fine, with the highlight being the Bill Evans remembrance, "September Fifteenth" (the date of Evan's passing, which occurred while the album was being recorded). Metheny and Mays appropriately opt for a serene and slightly elegiac piano and acoustic guitar duet. The set is balanced out by the fleet Americana of "Ozark" and the streamlined swinger "It's for You." Topped off by integral and tasteful percussion by future band regular Nana Vasconcelos, this 1981 Metheny date is certainly a worthwhile disc for fans to seek out, while not being essential.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Crossover Jazz, Post Bop, Contemporary Jazz, Guitar Jazz<br>Time - 43:37<br>Format - mp3@192 Kbps<br>Size - 60 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. As Falls Wichita, So Falls Wichita Falls<br>02. Ozark<br>03. September Fifteenth [Dedicated to Bill Evans]<br>04. It's for You<br>05. Estupenda Graça</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Pat Metheny (bass, guitars)<br>Lyle Mays (autoharp, keyboards, organ, piano, synthesizer)<br>Naná Vasconcelos (berimbau, drums, percussion, vocals)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>ECM, 1980</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/20003939934ef6f7fb214da">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-8090925659115419882?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-37798518389480269802011-12-12T03:00:00.000-08:002011-12-25T02:04:02.059-08:00Free Live!<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-7j4YEFS2714/Tvb1DQU9K9I/AAAAAAAAFIY/PtgITAnLmTg/s1600-h/cover%25255B9%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-Exqnqs_IG-k/Tvb1D7CFDQI/AAAAAAAAFIg/LHjDt2100YI/cover_thumb%25255B5%25255D.jpg?imgmax=800" width="180" height="180"></a>Although Free made excellent studio records, Free "Live" is perhaps the best way to experience the band in all its glory. Led by singer-guitarist Paul Rodgers and lead guitarist Paul Kosoff, the band swings through nine songs with power, clarity, and a dose of funk. Of course, the hit single "All Right Now" is gleefully extended, much to the audience's and listener's delight. Superbly recorded by Andy Johns, this is one of the greatest live albums of the 1970s. With the exception of one song, all performances are versions of album tracks. It begins with "All Right Now", which lasts for over six minutes. You can hear the Kossof guitar's present some technical flaws.Is followed by "I'm a Mover". Rodgers's voice also noticeably falters for a second during this song, showing how the album has not been altered in any way to remove such glitches as many modern live albums are. These are followed by loud, guitar-driven versions of "Be My Friend", "Fire and Water", "Ride on a Pony" and "Mr. Big". The live part then closes with one of the band's most popular tracks, "The Hunter" which receives a greater reaction from the crowd than any other song, including "All Right Now". Only the initial arrival of the band on stage at the very beginning causes a louder cheer. The album then closes with the last of four studio tracks recorded by the band before they split (the other three songs surfaced in some form on Highway and information on them is contained in that album's article). It is a slow, mellow, acoustic song much like a large part of Highway was, and sounds completely unlike any of the live songs on this album. Although being written as "Ride on a Pony" on the back of the CD reissue, on the cover of both the original LP and the CD it is written as "Ride on Pony".</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Album Rock, Blues Rock, Hard Rock<br>Time - 40:47<br>Format - mp3@320 Kbps<br>Size - 93 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. All Right Now<br>02. I'm a Mover<br>03. Be My Friend<br>04. Fire and Water<br>05. Ride on a Pony<br>06. Mr. Big<br>07. The Hunter<br>08. Get Where I Belong</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Paul Rodgers (vocals, guitar)<br>Paul Kossoff (guitar)<br>Andy Fraser (bass)<br>Simon Kirke (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>A&M, 1971</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/18021944804ef6f3a3c8749">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-3779851838948026980?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-23704208010688632492011-12-11T03:00:00.000-08:002011-12-24T23:44:21.259-08:00Lester Young - The Jazz Giants' 56<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-tO867JukJRQ/TvbUUDpb6wI/AAAAAAAAFII/FXKi1wEGIZg/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-u6aRQL_AFX8/TvbUU4UGUEI/AAAAAAAAFIM/xRg3KrSrkX4/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Even critics who feel (against the recorded evidence to the contrary) that little of tenor saxophonist Lester Young's postwar playing is at the level of his earlier performances make an exception for this session. Young was clearly inspired by the other musicians (trumpeter Roy Eldridge, trombonist Vic Dickenson, pianist Teddy Wilson, guitarist Freddie Green, bassist Gene Ramey, and drummer Jo Jones), who together made for a very potent band of swing all-stars. The five songs on this album include some memorable renditions of ballads and a fine version of "You Can Depend on Me," but it is the explosive joy of the fiery "Gigantic Blues" that takes honors. This set, a real gem, is highly recommended.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Cool, Mainstream Jazz, Saxophone Jazz<br>Time - 42:06<br>Format - mp3@320 Kbps<br>Size - 96 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. I Guess I'll Have to Change My Plan<br>02. I Didn't Know What Time It Was<br>03. Gigantic Blues<br>04. This Year's Kisses<br>05. You Can Depend on Me</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Lester Young, Flip Phillips (tenor sax)<br>Buddy DeFranco (clarinet)<br>Bill Harris, Vic Dickenson (trombone)<br>Dizzy Gillespie, Roy Eldridge (trumpet)<br>Freddie Green, Herb Ellis (guitar)<br>Oscar Peterson, Teddy Wilson (piano)<br>Gene Ramey, Ray Brown (bass)<br>Jo Jones, Louie Bellson (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Verve, 1956</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/14306910794ef6d3e899224">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-2370420801068863249?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-91136290261270446032011-12-10T03:00:00.000-08:002011-12-24T23:09:23.715-08:00Lee Hazlewood - The N.S.V.I.P.'s<p align="justify"><a href="http://lh5.ggpht.com/-JrG8rwaxaoE/TvbMH6abtBI/AAAAAAAAFH4/kKDrI4TyIis/s1600-h/cover%25255B8%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-llmo2tZpp-U/TvbMIuyff_I/AAAAAAAAFH8/W3OBEsAgpiU/cover_thumb%25255B3%25255D.jpg?imgmax=800" width="180" height="180"></a><em><font size="2" face="Trebuchet MS">First, of all, the album is a product of the mind of Lee Hazlewood, who is impossible to explain. Basically a writer, Lee has created a number of great rock-and-roll smashes of the past decade. But at heart Lee's still a country-type fella. He chews straw a lot, stuff like that. He's also one of the funniest guys ever. So, finally, Lee has put together an album just the way he feels an album should be put together. To say the least, it's different. On each band, Lee begins telling a tale. It's usually a gentle tal, usually about a soul that, if not lost, is at least pretty widely overlooked (hence, the album title).After a minute or so of winsome verbal wanderings, Lee then launches into another Hollywood product: a song., usually less winsome and more pointed, and satirical. Kooky, funny, but surprisingly insightful songs and stories about small-town weirdos -- a companion album to Trouble. A quirky anomoly, this album is easily one of the seven wonders of the pop music world.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Folk Rock, Country Rock<br>Time - 34:25<br>Format - mp3@192 Kbps<br>Size - 47 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. First Street Blues<br>02. I Had a Friend<br>03. I'm Gonna Fly<br>04. Go Die Big City<br>05. I Ain't Gonna Be<br>06. Have You Made Any Bombs Today<br>07. Everybody Calls Me Something<br>08. Save Your Vote for Clarence Mudd<br>09. I Might Just Break Even<br>10. Just Bluesin'</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Lee Hazlewood (producer, vocals)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Hazlewood Records, 1965</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/3578760664ef6cb95bc6b3">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-9113629026127044603?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-43063875315179670292011-12-09T03:00:00.000-08:002011-12-24T22:58:37.360-08:00Nils Landgren & Esbjörn Svensson - Layers of Light<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-SYUHnoUMgag/TvbJmZdm-mI/AAAAAAAAFHo/lFx1VBDwMq8/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-jOx1FqkUQYE/TvbJnH9XX2I/AAAAAAAAFHs/-ZElv0_eR7A/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>A poetically conceived and beautifully recorded album, Layers of Light finds Swedes Landgren and Svensson exploring more of the traditional material which made their previous Act release, the 1998 Swedish Folk Modern, a special album for anyone interested in the jazz-meets-folk area associated with such stellar names of the old Swedish scene as saxophonist Lars Gullin, pianist Jan Johansson and trumpeter Bengt-Arne Wallin. Although there is the occasional flurry of rhythmic excitement, the accent here is very much upon cool moments of meditative reflection, with Landgren's formidable trombone technique and Svensson's quicksilver pianistic firmly tempered and set in the service of the quietly haunting, minor-hued material. Two affecting originals--one by Svensson, and one by Wallin, whose classic early-1960s Folk Meets Jazz session was reissued by Act a couple of years ago--increase the measured appeal of an album that would seem to have been recorded in a vast, pine-framed panorama of nurturing silence.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Post Bop<br>Time - 58:13<br>Format - mp3@192 Kbps<br>Size - 80 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Song from the Valley<br>02. Calling the Goats<br>03. Kauk<br>04. Kristallen<br>05. Mattmar<br>06. Lakk<br>07. Hopsi<br>08. Calling the Cows<br>09. Lullaby<br>10. Simple Song<br>11. Layers ff Light<br>12. Lonely at the Lakeside<br>13. Norwegian Fox Trott<br>14. Nils Walksong<br>15. The Farewell</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Nils Landgren (posaune)<br>Esbjörn Svensson (klavier)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Act, 2001</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/21434384744ef6c8fd5298f">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-4306387531517967029?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-70398747286846415972011-12-08T03:00:00.000-08:002011-12-24T22:47:27.669-08:00Ten Years After - Positive Vibrations<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-tpzIjxn_7UE/TvbG_M5En1I/AAAAAAAAFHY/KUd-0rNzU4c/s1600-h/cover%25255B5%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-P-R_I6YNrDQ/TvbG_gS2N-I/AAAAAAAAFHc/Pba78dGyeoo/cover_thumb%25255B3%25255D.jpg?imgmax=800" width="180" height="180"></a>There's not much happening here. By the time Positive Vibrations was released, Ten Years After had run out of gas. Leader Alvin Lee had already released two solo albums, "On the Road to Freedom" and "In Flight," and the band was simply going through the motions on this album. The band broke up following its release. "Going Back To Birmingham", "You're Driving Me Crazy", "Look Me Straight Into The Eyes", "I Wanted To Boogie", "Look Into My Life" and "It's Getting Harder" are all stand outs in the great tradition of earlier Ten Years After releases. But the band had set the bar so high by the time of this set that it was close to impossible to reach on a consistent basis. The remaining four songs are not quite up to the standards these guys had set for themselves, which is not to say they are bad songs. If they had been recorded by any other band of the time, they may very well have been considered album highlights. Yes, the band was getting tired by '74 (and tired of each other). Even so, they come through hard enough on this release for it to be considered a rock classic and an essential entry into any serious rock collection. Positive Vibrations? The title almost invokes visions of a softer, gentler Ten Years After, but make no mistake, this cd rocks. The album peaked at #81 in the US Billboard 200 chart.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Blues Rock, British Blues, Regional Blues<br>Time - 40:26<br>Format - mp3@320 Kbps<br>Size - 94 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Nowhere To Run<br>02. Positive Vibrations<br>03. Stone Me<br>04. Without You<br>05. Going Back To Birmingham<br>06. It's Getting Harder<br>07. You're Driving Me Crazy<br>08. Look Into My Life<br>09. Look Me Straight Into The Eyes<br>10. I Wanted To Boogie</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Alvin Lee (guitar, harmonica, mixing, vocals, background vocals)<br>Chick Churchill (clavinet, drums, keyboards, moog synthesizer, piano)<br>Ric Lee (drums, percussion, background vocals)<br>Harold Burgon (vocals, background vocals)<br>Leo Lyons (bass)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Beat Goes On, 1974</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/4642457344ef6c62a29f96">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7039874728684641597?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-3610519773481106732011-12-07T03:00:00.000-08:002011-12-24T01:36:48.747-08:00Daryl Hall - Sacred Songs<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-zoIuQBofbo0/TvWdLfjzrPI/AAAAAAAAFHI/bRkc5HMQtAE/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-qcKK6vewbNc/TvWdL-t62fI/AAAAAAAAFHM/vf3Vc4l2KAU/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>In what must be the most bizarre coupling ever, Hall is accompanied by none other than King Crimson figurehead Robert Fripp on production and, of course, on guitar. This record suffered at the hands of record company mismanagement. Originally recorded in 1977, Sacred Songs wasn't granted a release until 1980. RCA worried about Hall's lack of commercial vision. However Hall and Fripp's creativity strangely works. Sure, there are pieces that wouldn't do as singles, but for an album regarded as being so uncommercial, there are plenty that could have been: the wacky title song, "Something in 4/4 Time," "Farther Away," and "Why Was It So Easy" (the latter being one of Hall's best ballads). Most bonkers of all is "Babs and Babs," a straight-ahead Daryl Hall track until a Fripp soundscape kicks in from nowhere! Fripp's own "Urban Landscape" shows him having withdrawal symptoms from Bowie's infamous Heroes sessions. The onward march of studio technology means that the sound here is slightly dated. Still, it's a must-have purchase, ending with another killer ballad "Without Tears" -- Earth magic indeed.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Blue Eyed Soul, Contemporary Rock, Soul<br>Time - 47:00<br>Format - mp3@224 Kbps<br>Size - 89 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Sacred Songs<br>02. Something In 4-4 Time<br>03. Babs and Babs<br>04. Urban Landscape<br>05. NYCNY<br>06. The Farther Away I Am<br>07. Why Was It So Easy<br>08. Don't Leave Me Alone With Her<br>09. Survive<br>10. Without Tears</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Daryl Hall (keyboards, synthesizer, vocals)<br>Robert Fripp (electronics, guitar)<br>Brian Eno (synthesizer)<br>Charles Dechant (saxophone, background vocals)<br>Kenny Passarelli, Tony Levin (bass)<br>Caleb Quaye (guitar)<br>Charlie Drachen (saxophone)<br>David Kent (vocals, background vocals)<br>Phil Collins, Roger Pope (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>RCA, 1980</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/11961887354ef59cab2cfdc">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-361051977348110673?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-35422301145320622602011-12-06T03:00:00.000-08:002011-12-24T01:26:15.922-08:00McCoy Tyner - Extensions<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-fbV22iF_5hI/TvWatJB5PNI/AAAAAAAAFG4/5fA0I_xBi9k/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-Kjd19961ULs/TvWatuc_4qI/AAAAAAAAFG8/mCrhZElCCf0/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>This album has an interesting combination of players. It may be the only recording to include both pianist McCoy Tyner and his successor with the John Coltrane Quartet, Alice Coltrane (who adds atmosphere with her harp). This set also matches the young altoist Gary Bartz with Wayne Shorter (doubling on tenor and soprano), who he succeeded in Miles Davis' group, and has reunions between Shorter and bassist Ron Carter and between Tyner and drummer Elvin Jones. The all-star sextet stretches out on lengthy renditions of four of Tyner's modal originals, and there is strong solo space for the leader and the two saxophonists. Wayne Shorter in particular is often quite intense. Stimulating music.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Modern Free, Post Bop, Mainstream Jazz, Modal Music, Piano Jazz<br>Time - 40:13<br>Format - mp3@320 Kbps<br>Size - 92 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Message from the Nile<br>02. The Wanderer<br>03. Survival Blues<br>04. His Blessings</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>McCoy Tyner (piano)<br>Wayne Shorter (soprano sax, tenor sax)<br>Gary Bartz (alto sax)<br>Alice Coltrane (harp)<br>Ron Carter (bass)<br>Elvin Jones (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Blue Note, 1970</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/10675203354ef59a1ac26b2">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-3542230114532062260?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-45308791010521292332011-12-05T03:00:00.000-08:002011-12-24T01:18:47.862-08:00Albert King - New Orleans Heat<p align="justify"><em><font face="Trebuchet MS"><font size="2"><a href="http://lh4.ggpht.com/-H85LTLHNbow/TvWY82YTlXI/AAAAAAAAFGo/30q1NpfcnkA/s1600-h/cover%25255B5%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-oKL26qe3Elw/TvWY9ka1K4I/AAAAAAAAFGs/J8z4EoZkrjY/cover_thumb%25255B3%25255D.jpg?imgmax=800" width="180" height="180"></a>The king of modern electric soul-blues, Albert King joined Tomato Records in 1976 following his spell with the Stax label. Recording for Tomato in 1979, King luxuriates in the Vieux Carre' soul production of Allen Toussaint. The guitarist and singer takes to the local climate well-not that he and the funkmeisters about town (including rhythm guitarist Leo Nocentelli and drummer Charles Williams) break a sweat kindly or are above sometimes coasting on cliche's. On the album, King redoes several of his earlier Stax sides, including the classic “Born Under A Bad Sign”, which is given a good ride by drummer June Gardner and the band. This foray into the heat and damp of the Deep South was one of Albert King’s last studio projects, although he continued to perform until his death in 1992.<a name='more'></a></font></font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Modern Blues, Soul, Soul Blues, Urban Blues<br>Time - 41:39<br>Format - mp3@320 Kbps<br>Size - 96 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Get Out Of My Life Woman<br>02. Born Under A Bad Sign<br>03. The Feeling<br>04. We All Wanna Boogie<br>05. The Very Thought Of You<br>06. I Got The Blues<br>07. I Get Evil<br>08. Angel Of Mercy<br>09. Flat Tyre</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Albert King (guitar, vocals)<br>Allen Toussaint (piano, producer)<br>Leo Nocentelli (guitar)<br>George Porter, Jr. (bass)<br>Robert Dabon, Wardell Quezergue (electric piano)<br>Charles Williams, June Gardner, Leroy Breaux (drums)<br>Kenneth Williams (percussion)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Tomato, 1978</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/19998141684ef5980c384e8">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-4530879101052129233?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-58447305293550974412011-12-04T03:00:00.000-08:002011-12-04T03:00:01.387-08:00The Very Best Of Diana Krall<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-Ho_beNJDl0U/Ttex-45nHMI/AAAAAAAAFGY/mwCjjzk9lHc/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-Opw0Ka29kFg/Ttex_QNsciI/AAAAAAAAFGc/5jYV66L-5QQ/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The Very Best of Diana Krall collects a nice cross-section of tracks the pianist/vocalist recorded beginning with her 1996 breakthrough album, All for You, and moving through to her 2006 effort From This Moment On. These are largely urbane and stylish recordings that range from her intimate and swinging trio work with guitarist Russell Malone and bassist Christian McBride to her lush orchestral and big-band numbers. While this is primarily a compilation for fans of the sophisticated, jazz standards-oriented Krall, Verve does earn some kudos for including at least one cut from her deeply personal and subsequently not as popular effort The Girl in the Other Room. Also featured are cuts from her stellar 2002 concert album Live in Paris. If you're a fan of straight-ahead jazz with a heavy dash of romance and haven't checked out Krall's work, The Very Best is superb place to start.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Contemporary Jazz, Traditional Pop, Vocal Jazz, Guitar Jazz<br>Time - 75:33<br>Format - mp3@192 Kbps<br>Size - 94 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. 'S Wonderful<br>02. Peel Me a Grape<br>03. Pick Yourself Up<br>04. Frim Fram Sauce<br>05. You Got to My Head<br>06. Lets Fall in Love<br>07. The Look of Love<br>08. East of the Sun (And West of the Moon)<br>09. I've Got You Under My Skin<br>10. All or Nothing at All<br>11. Only the Lonely<br>12. Let's Face the Music and Dance<br>13. The Heart of Saturday Night<br>14. Little Girl Blue<br>15. Fly Me to the Moon</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Diana Krall (piano, vocals)<br>Johnny Mandel (conductor)<br>Dori Caymmi (guitar)<br>John Clayton (bass)<br>Larry Bunker (vibraphone)<br>Anthony Wilson, Russell Malone, Romero Lubambo (guitar)<br>Ben Wolfe, Christian McBride, Paul Keller (bass)<br>Jeff Hamilton, Lewis Nash, Peter Erskine (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Verve, 2007</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/10572019264ed7b181a32b8">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-5844730529355097441?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-61308123884779708242011-12-03T03:00:00.000-08:002011-12-03T03:00:09.921-08:00Sandy Bull - E Pluribus Unum<p align="justify"><em><font face="Trebuchet MS"><font size="2"><a href="http://lh4.ggpht.com/-ENYO2_Tf6DY/Ttev2C8MfoI/AAAAAAAAFGI/HtQcbyBq77Y/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-m3B6cWv61mo/Ttev28T76HI/AAAAAAAAFGQ/mxzhFIWX8Pg/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Sandy Bull's third and most experimental album is his weakest, comprised of a pair of extended tracks (17-minutes and 21-minutes each) that rely on an electric guitar output split four ways, plus the oud and finger cymbals. The results sort of resemble the Paul Butterfield Blues Band's East-West, except that it's dull and enervating. The quality of Bull's playing is undeniable, and his mid-tempo ramblings on "No Deposit -- No Return Blues" sometimes threaten to become interesting, especially when it passes through a Bo Diddley-like beat for a few moments, but this is an illusion -- it never justifies its own length. "Electric Blend" is one of those ambitious psychedelic experiments with extended noodling that doesn't have much purpose except to show off Bull'd prowess. Back in 1968 when it was recorded, this probably seemed like a great idea, but it hasn't held up as well as, say, "In A Gadda Da Vida."<a name='more'></a></font></font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Folk<br>Styles - Folk Rock, Psychedelic<br>Time - 38:55<br>Format - mp3@224 Kbps<br>Size - 62 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. No Deposit - No Return Blues<br>02. Electric Blend</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Sandy Bull (multi instruments)<br>Denis Charles (percussion)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Vanguard, 1968</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/4886934704ed7af71e1148">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-6130812388477970824?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-75705581872004705832011-12-02T03:00:00.000-08:002011-12-02T03:00:12.199-08:00George Russell - Jazz in the Space Age<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-v6YDQZL5tfc/TteupIauwGI/AAAAAAAAFF4/gI0c6uD1akA/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-CfemxFZdzM4/Tteup9gxWOI/AAAAAAAAFGA/a9RIfVlL2L4/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>George Russell's third release as a leader combines two adventurous sessions. The first features two pianists, Bill Evans and Paul Bley, and a large ensemble including Ernie Royal, Dave Baker, Walt Levinsky, Barry Galbraith, Milt Hinton, and Don Lamond, among others. The three-part suite "Chromatic Universe" is an ambitious work which mixes free improvisation with written passages that have not only stood the test of time but still sound very fresh. "The Lydiot" focuses on the soloists, while incorporating elements from "Chromatic Universe" and other Russell compositions. The second session adds trumpeter Marky Markowitz, valve trombonist Bob Brookmeyer, alto saxophonist Hal McKusick, and drummer Charlie Persip to the earlier group, in the slow, somewhat mysterious "Waltz From Outer Space," which incorporates an Oriental-sounding theme, and "Dimensions," described by its composer as "a sequence of freely associated moods indigenous to jazz." Previously available as an LP and as a two-LP set combined with New York, NY, this CD represents some of George Russell's greatest achievements.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Post Bop<br>Time - 42:29<br>Format - mp3@192 Kbps<br>Size - 58 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Chromatic Universe, Pt. 1<br>02. Dimensions<br>03. Chromatic Universe, Pt. 2<br>04. The Lydiot<br>05. Waltz from Outer Space<br>06. Chromatic Universe, Pt. 3</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>George Russell, Bill Evans, Paul Bley (piano)<br>Alan Kieger, Ernie Royal, Irwin Markowitz (trumpet)<br>Bob Brookmeyer, David Baker, Frank Rehak (trombone)<br>Hal McKusick, Walter Levinsky (alto sax)<br>Sol Schlinger (baritone sax)<br>David A. Young (tenor sax)<br>James Buffington (french horn)<br>Barry Galbraith, Howard Collins (guitar)<br>Milt Hinton (bass)<br>Charlie Persip, Don Lamond (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>MCA, 1961</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/19066705654ed7ae1e0eac2">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7570558187200470583?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-54745742738408995462011-12-01T03:00:00.000-08:002011-12-01T03:00:17.772-08:00John Lee Hooker, Jr. - Cold As Ice<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-mxzZygEnDXk/TtU4hqIi8cI/AAAAAAAAFFo/05tC90RW2e8/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-4QlwQvT8JSQ/TtU4iADdEuI/AAAAAAAAFFw/xsO5W92RFIs/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>John Lee Hooker, Jr. hasn't shied away from his father's immense legacy, and he always features some of Hooker, Sr.'s signature songs in concert; he included three of them on his debut album, 2004's Blues with a Vengeance, but anyone expecting him to replicate that legacy is mistaken, for Hooker is after something else again, a true synthesis of the old with the new, and his sound is much closer to contemporary urban R&B or funk than his father's raw, Delta-derived blues style. Still, the most immediately memorable song on Hooker's second album, Cold as Ice, at least on first listen, is a straight out tribute to his father, the moving "Do Daddy (Requiem for John Lee Hooker)," and another of the best tracks, "Oh Baby," works clearly out of a blues template. Most of the rest of album is a kind of funky, neo-jump blues blend, however, full of horns and a kind of urbane, good-natured humor that is in striking contrast to what passes for contemporary blues thus far in the 21st century. Unfortunately, nothing here works the synthesis between the old and the new quite as well as "Blues Ain't Nothing but a Pimp" from Hooker's first album, which leaves Cold as Ice feeling a bit like a transitional outing, however memorable. One gets the sense that Hooker has an even better album in him, and it could well be right around the corner.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Urban Blues, Detroit Blues, Regional Blues, Jump Blues<br>Time - 54:21<br>Format - mp3@320 Kbps<br>Size - 124 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. You Blew It Baby<br>02. Fed Up<br>03. Cold as Ice<br>04. Somebody's out to Get Me<br>05. Do Daddy (Requiem for John Lee Hooker)<br>06. Wait Until My Change Comes<br>07. 4 Hours Straight - Blues Man<br>08. Trapped<br>09. I'm in the Mood<br>10. I Got to Be Me<br>11. Oh Baby<br>12. Eva'body Pays Attention</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>John Lee Hooker, Jr. (vocals)<br>John Garcia, Jr. (guitar)<br>Will "Roc" Griffin (keyboards)<br>Michael Rogers, Michael Skinner (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Telarc, 2006</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/12834519694ed537f06f187">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-5474574273840899546?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-11411492288474482212011-11-30T03:00:00.000-08:002011-11-30T03:00:02.658-08:00The McCoys - Hang On Sloopy<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-ve6dGMpyUcE/TtU2-sVA8YI/AAAAAAAAFFY/TuHGaY_cx_c/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-WOibkqH3E2Y/TtU2_YNwoLI/AAAAAAAAFFg/k5h94Vz4C6k/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The McCoys' debut album in 1965 was less a unified collection than it was a classic single, the title tune "Hang on Sloopy," which featured the singing and guitar playing of a young Rick Derringer, surrounded by a lot of likeminded filler, although a couple of the tracks, most notably the relatively ambitious "Don't Worry Mother" and the striking "Sorrow," which sported a lovely melody, rose well above the generic feel of the rest of the album. That's still the case some 40-plus years later.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Contemporary Rock, Garage Rock, Psychedelic<br>Time - 40:54<br>Format - mp3@320 Kbps<br>Size - 57 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Fever<br>02. Hang on Sloopy<br>03. I Can´t Help Fallin in Love<br>04. All I Really Want To Do<br>05. If You Tell a Lie<br>06. Sorrow<br>07. Stormy Monday Blues<br>08. High Heel Sneakers<br>09. Everyday I Have to Cry<br>10. Runaway<br>11. Come on, Let's Go<br>12. I Can't Explain It<br>13. Ko Ko<br>14. I Don´t Mind<br>15. Stubborn Kind of Fellow<br>16. Up and Down</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Bang, 1965</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/8107719214ed53660043de">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-1141149228847448221?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-37455682852013224082011-11-29T03:00:00.000-08:002011-11-29T09:55:33.394-08:00Esbjorn Svensson Trio - Viaticum<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-f8zaF6IQ0qc/TtUckgfabrI/AAAAAAAAFFI/TixfgHC6Rzw/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-1dG2oCxvIfc/TtUclMQM6CI/AAAAAAAAFFM/lIUfdgKDN4I/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>As Esbjörn Svensson's trio has developed into a first-rate contemporary jazz entity, the combined acoustic-electric sound he employs is more alluring and arresting with each recording. The subtle nuances of amplified keyboard shades that embellish his piano playing is a unique quality of E.S.T.'s music that sets them apart from the vast majority of combos who place a larger value on louder complements. Another aspect of this group is that they are truly a working ensemble with stable personnel, as bassist Dan Berglund and drummer Magnus Öström have joined Svensson in this trio for years. The meditative and surrealistic quality of this music is hard to deny or dismiss, as it is so refined and defined within a spiritual parameter -- unique unto itself, and beyond most modern categories. While the titles are elusively cryptic, they can shed some light on the musical content. "Tide of Trepidation" aligns itself to the ECM/Bobo Stenson school of piano thought, a mysterious type of composition with underlying, echoed electronic washes lapping up the melody. "In the Tail of Her Eye" is undoubtedly a slow, 4/4 song of brokenhearted regret, "What Though the Way May Be Long" is a poetic discourse on unseen destiny lying ahead, and "The Unstable Table & the Infamous Fable" intimates a film noir spy scene in its cinematic anticipation of held tension. Less inanimate, "Eighty Eight Days in My Veins" is cast via a shuffle mode in 6/8 time, more driven and chiming with a two-note contrapuntal buzzing insert. The slightly bouncing or bumpy modified tango line of "The Well Wisher" is very light on its feet, in a style that could be a cousin of Keith Jarrett. The most compelling track is "A Picture of Doris Travelling with Boris," as the trio conjures up an aural visage of sleepwalking movement or late-night paranormal mean streets with a sheen of electric light guiding the way. E.S.T.'s music is for specific tastes, but seems to have found common ground with fantasy imagineers, the baby boomer ECM crowd, and youth searching for parallels to the Bad Plus or Brad Mehldau. Viaticum is a successful effort, a progression from their previous efforts, and in many ways a new pathway to the future without relying on black holes.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Post Bop<br>Time - 74:53<br>Format - mp3@320 Kbps<br>Size - 171 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Tide of Trepidation<br>02. Eighty-Eight Days in My Veins<br>03. The Well-Wisher<br>04. The Unstable Table & The Infamous Fable<br>05. Viaticum<br>06. In the Tail of Her Eye<br>07. Letter from the Leviathan<br>08. A Picture of Doris Travelling with Boris<br>09. What Though the Way May Be Long</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Esbjörn Svensson (piano)<br>Daniel Berglund (bass)<br>Magnus Öström (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Act, 2005</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/7179168474ed51c2f381e7">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-3745568285201322408?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-37210657706399061342011-11-28T03:00:00.000-08:002011-11-29T09:47:04.053-08:00John Mayall & The Bluesbreakers - Bluesbreaker<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-J2Q01v1R41M/TtUalUg4KFI/AAAAAAAAFE4/up-km7ui9Gs/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-Rr1Mr1SE698/TtUal__O9OI/AAAAAAAAFE8/5tBtWb6pJLU/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>At the time that the Blues was wending its way from the misty swamps of the Southern Delta of the Mississippi to the windy streets of Chicago, on the other side of the ocean was being born who was to give the blkues its place in the hearts of the white sector of the population, John Mayall. The Blues Breakers made an enormous number of recordings with Mayall and proved to be a spawning ground for talent. Gutarist Peter Green and drummers Aynsley Dumbar and Mick Fleetwood were at one time members of the band wich also gave people like Mick Taylor (later Rolling Stones), John Hissman and Tony Reeves (later Colloseum) a chance. These days one can refer to the Mayall School ehere, over the years, talented musicians have been able to learn the art of the blues from the grand master. With this album you can sit back and listen to them all again. Mayall classics such as Chicago Line, Gimme One More Day, The Last Time and Dream About The Blues performed by John Mayall and his Blues Breakers.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Blues Rock, British Blues, Harmonica Blues, Blues Revival, Regional Blues<br>Time - 70:17<br>Format - mp3@320 Kbps<br>Size - 161 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Chicago Line<br>02. Gimme One More Day<br>03. One Life to Live<br>04. The Last Time<br>05. Dream About the Blues<br>06. Fascinatin' Lover<br>07. Cold Blonded Woman<br>08. The Dirty Dozen<br>09. Tears Came Rollin Down<br>10. Life in the Jungle<br>11. Ridin' on the L & N<br>12. Room to Move</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Neon Records, 2000</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/17954977444ed519eb3535f">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-3721065770639906134?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-35202364335286829442011-11-27T03:00:00.000-08:002011-11-29T09:15:51.325-08:00Stan Getz - Quartets<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-YQr-yYOmgH0/TtUTGIBLElI/AAAAAAAAFEo/ZQvTIYZ8NcU/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-acQgXe8c5-A/TtUTHZvVa-I/AAAAAAAAFEw/OTAsWvprmPg/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>After gaining initial fame with Woody Herman's band, Stan Getz went solo in the late '40s, hitting his zenith during the bossa nova craze of the early '60s. Before scoring with "Girl From Ipanema," though, Getz established himself with a slew of fine dates for Prestige and Verve, including this one from 1950. At the time, Getz's cool, Lester Young-inspired sound was becoming more distinct and harmonically varied, featuring the beautifully mellifluous tone he would soon turn into his trademark. Getz's airy approach is optimally heard on Quartets' many ballad standards, including stellar versions of "My Old Flame" and "What's New." He even pens the standout ballad of the set, "Mar-cia," while demonstrating his varied writing skills with the original swinger "Crazy Chords." Other highlights include medium cookers like "There's a Small Hotel" and "Too Marvelous for Words" and the Latin-tinged "Lady in Red" (a sort of minor classic and admittedly one of Getz's favorites). Getz is ably supported by top players throughout, including pianist Al Haig, bassist Percy Heath, and drummer Roy Haynes. Although the sound is not crystal clear (this is, after all, the early days of the LP), Quartets is still a very enjoyable set. Those new to his work, though, might want to start in with later, better-sounding releases on Verve, like Stan Getz Plays or Stan Getz and the Oscar Peterson Trio.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Cool, West Coast Jazz, Mainstream Jazz, Saxophone Jazz<br>Time - 35:40<br>Format - mp3@320 Kbps<br>Size - 82 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. There's a Small Hotel<br>02. I've Got You Under My Skin<br>03. What's New<br>04. Too Marvelous for Words<br>05. You Stepped Out of a Dream<br>06. My Old Flame<br>07. Long Island Sound<br>08. Indian Getz Quartet<br>09. Mar-CIA<br>10. Crazy Chords<br>11. The Lady in Red<br>12. Wrap Your Troubles in Dreams (And Dream Your Troubles Away)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Stan Getz (tenor sax)<br>Al Haig, Tony Aless (piano)<br>Percy Heath, Tommy Potter, Gene Ramey (bass)<br>Roy Haynes, Don Lamond, Stan Levey (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Prestige, 1950</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/3692125874ed512a1c16fc">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-3520236433528682944?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-72019389908937484122011-11-26T03:00:00.000-08:002011-11-29T09:04:16.087-08:00Rhythm Devils - The Apocalypse Now Session<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-JP-lioMiueE/TtUQipLB2KI/AAAAAAAAFEY/YMYbHp83Bao/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-LVAGI7D1LVY/TtUQjEz87eI/AAAAAAAAFEg/NvTGHcQAAig/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Three members of The Grateful Dead (Mickey Hart, Bill Kreutzman, and Phil Lesh) improvise on percussion instruments with several other musicians to provide incidental music for the movie Apocalypse Now. This is primarily a percussion album -- hissing rattles, clicking mallets, resonant gongs and thunderous drums -- punctuated by occasional flutes, droning berimbau, and the eerie sound of The Beam resulting in an intense album that artfully conveys the beauty and terror of the jungle in which the movie is set.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Worldbeat<br>Time - 38:35<br>Format - mp3@192 Kbps<br>Size - 53 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Compound<br>02. Trenches<br>03. Street Gang<br>04. The Beast<br>05. Steps 2<br>06. Tar<br>07. Lance<br>08. Cave<br>09. Hell's Bells<br>10. Kurtz<br>11. Napalm for Breakfast</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Mickey Hart, Airto Moreira (drums, percussion)<br>Bill Kreutzmann (drums)<br>Phil Lesh (bass)<br>Jim Loveless (marimba)<br>Flora Purim (vocals)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Rykodisc, 1980</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/9214156934ed50fc461b75">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7201938990893748412?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-64596220688602223752011-11-25T03:00:00.000-08:002011-11-29T08:50:06.183-08:00Oscar Peterson - The Paris Concert<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-QlK2j-e7oKs/TtUNOoI5zjI/AAAAAAAAFEI/w00aBTSmZpI/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-G45BQkbyVQ0/TtUNPfvtPeI/AAAAAAAAFEM/NZgOBqLgALY/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Pianist Oscar Peterson made so many recordings for Norman Granz's Pablo label (and was so consistent) that while all of his records are recommended, it is difficult to pick out any one as the definitive or essential release. This two-CD set (a straight reissue of the original two-LP release) features Peterson with an all-star trio, a unit comprised of guitarist Joe Pass and bassist Niels Pedersen. Just 16 days later Peterson would record The London Concert with a different trio. This time around he mostly sticks to standards but includes three songs associated with Benny Goodman (including the riff-filled "Benny's Bugle"), features Pass (who contributed his original "Gentle Tears") unaccompanied on "Lover Man" and really romps with his fellow virtuosoes on such numbers as "Ornithology," "Donna Lee" and "Sweet Georgia Brown."</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Bop, Piano Jazz<br>Time - 89:17<br>Format - mp3@320 Kbps<br>Size - 212 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc I<br>01. Please Don't Talk About Me When I'm Gone<br>02. Who Can I Turn To (When Nobody Needs Me)<br>03. Benny's Bugle<br>04. Soft Winds<br>05. Goodbye<br>06. Place St. Henri</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc II<br>01. Medley: Manha de Carnaval - If<br>02. Ornithology<br>03. Blue Lou<br>04. How Long Has This Been Going On?<br>05. Gentle Tears<br>06. Lover Man<br>07. Samba de Orfeu<br>08. Donna Lee<br>09. Sweet Georgia Brown</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Oscar Peterson (guitar, piano)<br>Joe Pass (guitar)<br>Niels-Henning Orsted Pedersen (bass)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Pablo, 1978</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/12124898414ed50b4b5de9c">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-6459622068860222375?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-47387584780551758112011-11-24T03:00:00.000-08:002011-11-24T03:00:00.073-08:00Willie Dixon - Willie's Blues<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-b-7_4oAB-2s/Ts0tJxTxLHI/AAAAAAAAFD4/qb5AvqKArcQ/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-qtSbzeVeqSQ/Ts0tLPKXXXI/AAAAAAAAFEA/e_xM_afPZ3U/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>According to the original liner notes, this 1959 Willie Dixon session was cut during a two hour span in between flights. This certainly explains the relaxed, jam session feel of the recordings. Unfortunately, the songs come out sounding sluggish and stilted at times; this is partly due, no doubt, to the makeshift nature of the date, but also, more surprisingly, because of drummer Gus Johnson's overly slick and formalized playing. On top of this, one has to contend with Dixon's less-then-inspired vocals -- it's Dixon's writing talents and A&R savvy in the blues world that warrant him a place in the pantheon, not his skills at the microphone. That all said, this still is an enjoyable disc to listen to, not least of all because of the quality of Dixon's many originals and the freshness of pianist Memphis Slim's playing. And while the vaudevillian comedy of a song like "Built for Comfort" can be traced to Dixon's earlier pop R&B work with the Big Three Trio, rougher blues standouts like "Go Easy" and "Move Me" lead back to the Chicago blues world Dixon shared with Muddy Waters and Howlin' Wolf. Not a first disc for curious listeners, but certainly a pleasant enough addition to the blues lover's collection.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Chicago Blues, Acoustic Blues, Regional Blues<br>Time - 39:07<br>Format - mp3@192 Kbps<br>Size - 54 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Nervous<br>02. Good Understanding<br>03. That's My Baby<br>04. Slim's Thing<br>05. That's All I Want Baby<br>06. Don't You Tell Nobody<br>07. Youth To You<br>08. Sittin' and Cryin' the Blues<br>09. Built for Comfort<br>10. I Got a Razor<br>11. Go Easy<br>12. Move Me, Baby</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Willie Dixon (bass, vocals)<br>Memphis Slim (piano)<br>Wally Richardson (guitar)<br>Al Ashby (tenor sax)<br>Gus Johnson (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Bluesville Records, 1959</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/6455157994ecd2cb0187e7">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-4738758478055175811?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-84814279498509439772011-11-23T03:00:00.000-08:002011-11-23T09:21:21.506-08:00Captain Beefheart & the Magic Band - Lick My Decals Off, Baby<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-lvZT_6WKJr8/Ts0rjtERh1I/AAAAAAAAFDo/2IxRz4dw2Lg/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-k4P3SbtncsA/Ts0rkBkvCEI/AAAAAAAAFDs/jU8107aBaVg/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Produced by Captain Beefheart himself, Lick My Decals Off, Baby was a further refining and exploration of the musical ideas posited on Trout Mask Replica. As such, the imaginative fervor of Trout Mask is toned down somewhat, but in its place is an increased self-assurance; the tone of Decals is also a bit darker, examining environmental issues in some songs rather than simply concentrating on surreal wordplay. Whatever the differences, the jagged, complex rhythms and guitar interplay continue to amaze. Those wanting to dig deeper after the essential Trout Mask Replica are advised to begin doing so here.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Blues Rock, Alternative Rock, Indie Rock, Art Rock, Experimental Rock<br>Time - 35:01<br>Format - mp3@256 Kbps<br>Size - 65 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Lick My Decals Off, Baby<br>02. Doctor Dark<br>03. I Love You, You Big Dummy<br>04. Bellerin' Plain<br>05. Woe-Is-Uh-Me-Bop<br>06. Japan in a Dishpan<br>07. I Wanna Find A Woman That'llHold My Big Toe Till I Have To Go<br>08. Petrified Forest<br>09. The Buggy Boogie Woogie<br>10. The Smithsonian Institute Blues (Or The Big Dig)<br>11. Space-Age Couple<br>12. The Clouds Are Full of Wine (NotWhiskey or Rye)<br>13. Flash Gordon's Ape</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Captain Beefheart (clarinet, guitar, harmonica, soprano sax, tenor sax, vocals)<br>Bill Harkleroad, Douglas Moon, Zoot Horn Rollo (guitar)<br>Mark Boston (bass, guitar)<br>The Mascara Snake (clarinet)<br>Antennae Jimmy Semens (guitar)<br>Jerry Handley, Rockette Morton (bass)<br>Art Tripp (marimba, percussion)<br>Drumbo (percussion)<br>John French (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Straight, 1970</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/1253681174ecd2b726e247">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-8481427949850943977?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com2tag:blogger.com,1999:blog-7249285868009844760.post-21226115120385524922011-11-22T03:00:00.000-08:002011-11-22T03:00:00.948-08:00Mary Lou Williams - Zodiac Suite<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-i2utK2UdKd0/Tsl52_F1TaI/AAAAAAAAFDY/YPPZeOkdrZA/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-vp3yXHlMUvc/Tsl53ecVQtI/AAAAAAAAFDg/IvugkoQl8TE/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Mary Lou Williams' Zodiac Suite, a 12-piece work with a different theme made for each of the signs of the zodiac (and keeping in mind the personalities of a few jazz musicians born during each period), was composed and first recorded in 1945. With the assistance of bassist Al Lucas and drummer Jack "The Bear" Parker, pianist Williams performs these moody and often introspective (but occasionally playful) sketches in a forward-looking swing style. Six alternate takes have been added to the original program on this CD reissue which, although not quite essential, has its interesting moments.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Bop, Post Bop, Stride, Swing, Piano Jazz<br>Time - 43:43<br>Format - mp3@224 Kbps<br>Size - 71 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Aries<br>02. Taurus<br>03. Gemini<br>04. Cancer<br>05. Leo <br>06. Virgo<br>07. Libra <br>08. Scorpio <br>09. Sagittarius <br>10. Capricorn <br>11. Aquarius <br>12. Pisces<br>13. Aries <br>14. Cancer<br>15. Virgo<br>16. Scorpio<br>17. Aquarius</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Mary Lou Williams (piano)<br>Al Lucas (bass)<br>Jack Parkern (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Smithsonian Folkways Recordings, 1945</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/15114517184ec979c279ee8">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-2122611512038552492?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-76452123886110671962011-11-21T03:00:00.000-08:002011-11-21T03:00:00.781-08:00Sonny Terry - Whoopin'<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-_eeSWQoKMcI/Tsl3vivMm_I/AAAAAAAAFDI/ZsFKc2vnfDk/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-LvvZrHaQwQs/Tsl3wJBXoaI/AAAAAAAAFDQ/nSXdgvyYFwc/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The textbook charge usually levelled against Alligator sessions are that they're sanitized. You couldn't lodge that one against this set with a straight face; if anything, somebody turned Sonny Terry loose. It didn't hurt that Johnny Winter was around on guitar and piano, playing gritty blues with a passion. It didn't help that Terry didn't put any amplified muscle behind his harmonica, however. Otherwise, this is a strong session.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Country Blues, Piedmont Blues, Folk Blues, Harmonica Blues, East Coast Blues<br>Time - 43:04<br>Format - mp3@320 Kbps<br>Size - 99 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. I Got My Eyes On You<br>02. Sonny's Whoopin' The Doop<br>03. Burnt Child<br>04. Whoee, Whoee<br>05. Crow Jane<br>06. So Tough With Me<br>07. Whoo Wee Baby<br>08. I Think I Got the Blues<br>09. Ya, Ya<br>10. Roll Me Baby</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Sonny Terry, Brownie McGhee (harmonica, vocals)<br>Johnny Winter (guitar, piano)<br>Willie Dixon (bass)<br>Styve Homnick (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Alligator Records, 1984</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/7186533124ec977a8b5c5a">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7645212388611067196?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-6377838853498894292011-11-20T03:00:00.000-08:002011-11-20T03:00:03.341-08:00Oscar Peterson & Harry Edison<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-uvegqAekxo4/Tr_R6rJ0gwI/AAAAAAAAFCY/U7GWFr5G-IU/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-EKOv_AWcjqI/Tr_R7IzjRTI/AAAAAAAAFCg/o3EmQpkQ1FQ/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The third of Oscar Peterson's five duet albums with great trumpeters (the other encounters feature Dizzy Gillespie, Roy Eldridge, Clark Terry, and Jon Faddis) teams the masterful pianist with the great swing stylist Harry "Sweets" Edison. The trumpeter, who uses repetition to great degree and had pared his style down to a relatively few notes, matches well with the virtuosic Peterson on these seven standards and their two simple originals, "Basie" and "Signify." Together Edison and O.P. give the impression that their chance-taking improvisations are completely logical and a lot easier to play than they really are.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Mainstream Jazz, Piano Jazz<br>Time - 51:13<br>Format - mp3@320 Kbps<br>Size - 117 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Easy Living<br>02. Days of Wine and Roses<br>03. Gee Baby, Ain't I Good to You<br>04. Basie<br>05. Mean to Me<br>06. Signify<br>07. Willow Weep for Me<br>08. The Man I Love<br>09. You Go to My Head</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Harry Edison (trumpet)<br>Oscar Peterson (piano)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Pablo, 1974</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/8315420064ebfd09e9dc08">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-637783885349889429?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com2tag:blogger.com,1999:blog-7249285868009844760.post-18238414099132486182011-11-19T03:00:00.000-08:002011-11-19T03:00:03.611-08:00The Great Otis Redding Sings Soul Ballads<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-sE1mQSIWVac/Tr_QZC8YZhI/AAAAAAAAFCI/ot237U0zueI/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-n0ak5e-F2gg/Tr_QZlXtVjI/AAAAAAAAFCQ/PfeLZSAcy2Q/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The aptly named Great Otis Redding Sings Soul Ballads (1965) builds upon the strength and relative success of the vocalist's solo debut long-player, Pain in My Heart (1964). The format -- blending a few originals with well-chosen covers -- remained consistent. However, increasingly evident is the strength of Redding's interaction with Booker T. Jones (organ), Steve Cropper (guitar/piano), Donald "Duck" Dunn (bass), and Al Jackson, Jr. (drums), aka Booker T. & the MG's. That relationship is sonically solidified with the singer's seemingly innate ability to sculpt his leads around the powerful Memphis Horn section of Wayne Jackson (trumpet), Charles "Packy" Axton (tenor sax), and Floyd Newman (baritone sax). The results clearly speak for themselves with each of the album's dozen selections as all the proof one needs. Redding's testifyin' on the opener, "That's How Strong My Love Is," was powerful enough to garner the attention of several British Invasion bands. While it was the Rolling Stones' punkish cover that grabbed the most attention, to equal effect the Hollies and the Creation are among the others to have been similarly inspired. Adding to that cyclical experience are the obviously sincere updates of the Chuck Willis' R&B heartbreaker "It's Too Late," "For Your Precious Love" -- which had been a huge hit for the Jerry Butler-led incarnation of the Impressions -- and Sam Cooke's "Nothing Can Change This Love." Of the latter, Redding's take is arguably more powerful as the intimacy of his interpretation perfectly demonstrates the artist's uncanny aptitude for emotional evocation. The Redding-penned titles likewise reflect his mentors, as "Chained and Bound" easily adopts the pleading conviction apparent in one facet of Cooke's music. The samba groove of "I Want to Thank You" and the midtempo bounce of "A Woman, a Lover, a Friend" reflect the lighter, fun-loving side à la Cooke's "Another Saturday Night" and "Everybody Loves to Cha Cha Cha." Saving the best for last, the Redding/Cropper collaboration on the upbeat and bluesy "Mr. Pitiful" -- a nickname given to Redding by a local Memphis DJ -- became the platter's signature side, not to mention a significant crossover hit, landing in the Top Ten of the R&B survey and just missing the Top 40 Pop Singles chart by a solitary position.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rhythm & Blues<br>Styles - Soul, Southern Soul, Deep Soul<br>Time - 33:31<br>Format - mp3@320 Kbps<br>Size - 76 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. That's How Strong My Love Is<br>02. Chained and Bound<br>03. A Woman, a Lover, a Friend<br>04. Your One and Only Man<br>05. Nothing Can Change This Love<br>06. It's Too Late<br>07. For Your Precious Love<br>08. I Want to Thank You<br>09. Come to Me<br>10. Home in Your Heart<br>11. Keep Your Arms Around Me<br>12. Mr. Pitiful</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Otis Redding (vocals)<br>Charles Packy Axton (tenor sax)<br>Sammie Coleman, Wayne Jackson (trumpet)<br>Steve Cropper (guitar, piano)<br>Johnny Jenkins (guitar)<br>Booker T. Jones (keyboards, organ)<br>Floyd Newman (baritone sax)<br>Donald Duck Dunn (bass)<br>Al Jackson, Jr. (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Atco, 1965</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/8239158414ebfcfdc314cb">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-1823841409913248618?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-71530207490975709322011-11-18T04:10:00.000-08:002011-11-18T04:10:01.191-08:00The Four Freshmen - Voices In Modern<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-8gi4TCKHvyA/Tr-zt4Ir7aI/AAAAAAAAFB0/0oeuhNMO_us/s1600-h/cover%25255B3%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-noP6T-Tkycc/Tr-zuSAE8JI/AAAAAAAAFB4/m6DFlmYsu1o/cover_thumb%25255B1%25255D.jpg?imgmax=800" width="184" height="184"></a>Although the Four Freshmen had been on the label's roster for five years, Voices in Modern (1955) was the quartet's first Capitol Records EP. As was standard operating procedure during the seminal days of the 10" EP -- which ultimately evolved into the 12" LP -- the contents of this album were gathered from material previously available on various 45s. So in a sense, their long-playing debut was a retrospective of sorts, spanning over two-and-a-half years. During that time the original lineup of Bob Flanigan, Ross Barbour, Don Barbour, and Hal Kratzsch underwent the first of many personnel adjustments as Kratzsch was replaced by Ken Errair in the late spring of 1953. Only the singles "It's a Blue World" and "Stormy Weather" from the premier incarnation can be found here. Otherwise the Errair era foursome are heard covering a fairly broad spectrum of typical Great American Songbook selections and a title or two that would become inextricably linked to the combo. The latter category includes the likes of Gene Roland's emphatic Caribbean-flavored "Holiday" as well as "After You" -- a holdover from the Pastels, a vocal group that worked with the Stan Kenton Band predating the Freshmen. While the remainder of the tunes may have been around the block a few times, what truly sets them in a class all their own are the fresh and yes, modern approaches given to the time-honored standards "My Heart Stood Still" and a pair of Harold Arlen co-penned entries, "Stormy Weather" and particularly "Somewhere Over the Rainbow." The stunning arrangement coupled with the palpable empathy combine for an indescribably moving interpretation. To similar effect, the Duke Ellington classic "Mood Indigo" has rarely evoked such a striking and singular blend. Collectors' Choice Music issued the dozen-song LP version of Voices in Modern with the mid-'60s Funny How Time Slips Away (1965) -- making both available after being out of print for decades.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Vocal<br>Styles - Vocal Pop, Harmony Vocal<br>Time - 30:50<br>Format - mp3@320 Kbps<br>Size - 72 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. After You<br>02. Over the Rainbow<br>03. My Heart Stood Still<br>04. The Nearness of You<br>05. Holiday<br>06. Stormy Weather<br>07. Street of Dreams<br>08. We'll Be Together Again<br>09. Circus<br>10. Mood Indigo<br>11. It Happened Once Before<br>12. It's a Blue World</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Bob Flanigan (trombone, vocals)<br>Don Barbour, Ross Barbour (vocals)<br>Ken Errair (trumpet, vocals)<br>Frank Rosolino, Harry Betts, Milt Bernhart (trombone)<br>Tommy Pederson, George Roberts (trombone)<br>Claude Williamson (piano)<br>Barney Kessell (guitar)<br>Joe Mondragon (bass)<br>Shelly Manne (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Capitol, 1955</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/14738155654ebfb1fb28e44">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7153020749097570932?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-25016337006564693042011-11-17T03:00:00.000-08:002011-11-17T08:19:16.472-08:00The Best of Muddy Waters<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-_5PjOVDOs8Q/TsUz_6r5XkI/AAAAAAAAFC4/00aX58zzl_A/s1600-h/cover%25255B5%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-vFtgjIE64wQ/TsU0A8ee6_I/AAAAAAAAFDA/nor4YSPG34c/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The profile of Muddy Waters on the front of this album is a classic bit of color portrait photography. The bluesman seems to be staring up at something, a glazed look of wonder in his eyes. What could it be? Perhaps a vision of all the different "best of" sets and repackagings of his material that would happen in the future. In the end, it comes down to "That Same Thing" that Waters used to sing about, although he was talking about something else. The material this artist cut for Chess during this period is nothing short of a blues revelation. There has never been anything quite like it, before or after, and when one has heard Muddy Waters from this period, one has simply heard the best blues has to offer. This collection was the first "best of" Chess created, obviously mindful that what they had on their hands was nothing less than a tray of gold. The earliest pieces, such as "Louisiana Blues," are just marvelous, the country blues slide guitar augmented just so slightly by string bass, the harmonica of Little Walter, and the barest trace of percussion. Rhythmically, these performances are flawless and drenched with the feel as if they were slabs of chicken that had spent the day simmering in a jerk sauce. From there, one hears the classic Chicago blues combo sound emerging, which it does with great glory on tracks such as "Standing Around Crying." Yet with all the more extensive material that has been released of this artist since the late 50s, it is hard to conceive of why a consumer looking for Waters would settle for this collection. It is not a question of "less is more," as there is great consistency to the Waters discography from this period; listeners who enjoy this material will want more, more, more.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Chicago Blues, Delta Blues, Blues Revival, Regional Blues, Slide Guitar Blues<br>Time - 35:44<br>Format - mp3@320 Kbps<br>Size - 82 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. I Just Want To Make Love To You<br>02. Long Distance Call<br>03. Louisiana Blues<br>04. Honey Bee<br>05. Rollin' Stone<br>06. I'm Ready<br>07. I'm Your Hoochie Coochie Man<br>08. She Moves Me<br>09. I Want You To Love Me<br>10. Standing Around Crying<br>11. Still A Fool<br>12. I Can't Be Satisfied</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Muddy Waters (guitar, vocals)<br>Otis Spann (piano)<br>Jimmy Rogers (guitar)<br>Little Walter, Big Walter Horton (harmonica)<br>Willie Dixon, Ernest Big Crawford (bass)<br>Elgin Evans (drums, washboard)<br>Fred Below, Leonard Chess (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Chess, 1958</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/15203000784ebfae6b9ba65">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-2501633700656469304?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com2tag:blogger.com,1999:blog-7249285868009844760.post-31832533359427900962011-11-16T03:00:00.000-08:002011-11-16T03:00:13.434-08:00Michael Hurley - Snockgrass<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-eyRt-2iI2cY/Tr-s9e4HYvI/AAAAAAAAFBU/jg4upiR0HoM/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-V6ikTAhej0U/Tr-s92X7tRI/AAAAAAAAFBc/3PMGrIkIZZk/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>A truly delightful singer-songwriter mix-up from the Vermont-based Hurley, a man who has one of those cheerfully lived-in faces. The cover painting tends to get puzzled and startled reactions for its surreal landscape filled with naked folks and instrument-playing wolves, but that's just the package. Hurley's songwriting tends to switch from the serious to the satirical at the drop of a hat (sometimes in the middle of a song), which can result in unexpected laughter -- he's a fine man with a witty line. The musical is congenial, no worries there. Hurley is the sort of artist who leaves listeners regretting that he doesn't record more. The 1997 reissue comes with an additional cut.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Folk<br>Styles - Folk Revival, Traditional Folk, Contemporary Folk, Country Folk<br>Time - 51:06<br>Format - mp3@192 Kbps<br>Size - 71 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Midnite Rounder<br>02. O My Stars<br>03. Tia Marie<br>04. I'm Gettin' Ready to Go<br>05. Watchin' the Show<br>06. Automatic Slim & The Fat Boys<br>07. Don't Treat Me Bad<br>08. I Head the Voice of a Porchchop<br>09. No Home<br>10. Jolé Blon<br>11. I Think I'll Move<br>12. Goin' to Florida<br>13. You Gonna Look Like a Monkey<br>14. Sweet Lucy<br>15. Grapefruit Juice Blues</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Michael Hurley (fiddle, guitar, vocals)<br>Harpo Archer, Robert Iwaskiewicz, Paul Presti (guitar)<br>Nick Branch (mandolin)<br>John Cassel, Richard Tyler (piano)<br>Jeffrey Frederick, Jill Gross (vocal harmony, washboard)<br>Robin Remaily (fiddle, mandolin)<br>Peter Stampfel (fiddle)<br>Gordon Stone (banjo, pedal steel)<br>Dave Reisch (bass, vocals)<br>Gary Sisco (drums, vocals)<br>Robert Nickson (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Rounder, 1980</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/14224832074ebfac6c957fa">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-3183253335942790096?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-62578465735911667172011-11-15T03:00:00.000-08:002011-11-15T09:23:00.774-08:00The Complete Columbia Recordings: Miles Davis & John Coltrane<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-VOX1QbPmsDA/Tr-qURvNGjI/AAAAAAAAFBE/vJG1hNl5WkE/s1600-h/11648775-1%25255B10%25255D.jpg"><img style="background-image: none; border-right-width: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="11648775-1" border="0" alt="11648775-1" align="right" src="http://lh3.ggpht.com/-edFc6wP6V3Y/Tr-qU150XsI/AAAAAAAAFBI/vV-q-eTNxko/11648775-1_thumb%25255B8%25255D.jpg?imgmax=800" width="200" height="354"></a>In 1955, after years of playing with various different rhythm sections, Miles Davis hired himself a band -- pianist Red Garland, bassist Paul Chambers, drummer Philly Joe Jones, and the young tenor saxophonist John Coltrane. He also signed a deal with Columbia Records, after years of recording for the small, independent Prestige jazz label. In less than a year, the group recorded 'Miles', 'Cookin', Workin', 'Steamin' and 'Relaxin' to fulfill the obligation to Prestige, and 'Round about Midnight' to begin the obligation to Columbia. During the next five years, Miles Davis recorded the landmark orchestral albums with Gil Evans -- collected in another Columbia crate -- and a series of increasingly stunning albums with a version of this small group. Cannonball Adderley, the great soulful alto saxophonist, made it a Sextet in 1958, shortly before Red Garland and Philly Joe Jones made way for Bill Evans (then Wynton Kelly) and Jimmy Cobb. The band kept playing -- recording its pointillistic material, evolving into modal harmonies, being pulled by John Coltrane's increasing musical yearnings -- until, in 1960, Coltrane finally had to leave to pursue his own vision (although Miles lured him back for a couple of 1961 dates). With Coltrane gone, the band disintegrated and an astonishing new band --another perfect band -- was formed with Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams. That band has its own Columbia crate. (The title of this set is somewhat disingenuous --John Coltrane was a sideman in this band, never a co-leader. Here's what's in this box: the albums 'Round about Midnight', 'Mielstones' and 'Kinf of Blue' in their entirety, the band's live performances at a Columbia party and the 1958 Newport Jazz Festival, half of an album called 'Jazz Track' --the other half was Davis's soundtrack to the French film "L'Ascenseur pour l'echafaud"--, and the two songs Coltrane joined on 'Someday My Prince Will Come'. And there are numerous alternate takes, many of which have already been restored to Columbia's single-CD reissues of this material. So what -- aside from the usual fancy box and weighty booklet -- does this box set have that we haven't heard before? A lot. There are 13 previously unissued alternate takes and a previously unreleased version of "Little Melonae": a remarkable hour-and-a-half of extra music. There are also songs issued in their original 1950s stereo for the first time ever; a few scattered seconds of the famous but rarely heard Miles Davis rasp; and a false start or two --the only thing left to issue from the landmark Kind of Blue sessions was a minute-and-a-half false start of "Freddie Freeloader"--. The extra music is, like the music we know, extraordinary. There is nothing revelatory here, just powerful alternates that, except for a flub or two, would have done everybody proud if they had been included in the original albums. And all the music is loaded with tension -- Coltrane and Bill Evans were two very different musicians, but, in these years, they were both forward-thinking seekers of something new, something just around the corner in the future of jazz. You can hear Trane pressing, impatient, chafing against the restrictions that he would burst through so astonishingly in his own albums for Atlantic and Prestige. And you can hear Miles respond to that --squeezing even more drama, more heartache from his horn.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Hard Bop, Bop, Cool, Jazz Blues, Modal Music, Trumpet Jazz<br>Time - 386:01<br>Format - mp3@320 Kbps<br>Size - 886 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc I<br>01. Two Bass Hit (alternate take)<br>02. Two Bass Hit<br>03. Ah-Leu-Cha (alternate take)<br>04. Ah-Leu-Cha<br>05. Ah-Leu-Cha (take 5)<br>06. Little Melonae<br>07. Budo (alternate take)<br>08. Budo<br>09. Dear Old Stockholm<br>10. Bye Bye Blackbird (alternate take)<br>11. Bye Bye Blackbird<br>12. Tadd's Delight<br>13. Tadd's Delight (alternate take)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc II<br>01. Dear Old Stockholm (alternate take)<br>02. All Of You (alternate take)<br>03. All Of You<br>04. Sweet Sue, Just You (first version)<br>05. Sweet Sue, Just You<br>06. Sweet Sue, Just You (alternate take)<br>07. Sweet Sue, Just You<br>08. Miles Davis Comments<br>09. 'Round Midnight<br>10. Two Bass Hit (alternate take)<br>11. Two Bass Hit<br>12. Billy Boy<br>13. Straight, No Chaser (alternate take)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc III<br>01. Straight, No Chaser<br>02. Milestones (alternate take)<br>03. Milestones<br>04. Sid's Ahead<br>05. Little Melonae<br>06. Dr. Jackle<br>07. On Green Dolphin Street<br>08. Fran-Dance (alternate take)<br>09. Fran-Dance<br>10. Stella By Starlight</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc IV<br>01. Love For Sale<br>02. Freddie Freeloader (false start)<br>03. Freddie Freeloader<br>04. So What<br>05. Blue In Green<br>06. Flamenco Sketches (alternate take)<br>07. Miles Davis Comments<br>08. Flamenco Sketches<br>09. All Blues</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc V<br>01. Someday My Prince Will Come<br>02. Teo<br>03. Introduction By Willis Conover<br>04. Ah-Leu-Cha<br>05. Straight, No Chaser<br>06. Fran-Dance<br>07. Two Bass Hit<br>08. Bye Bye Blackbird<br>09. The Theme</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc VI<br>01. If I Were A Bell<br>02. Oleo<br>03. My Funny Valentine<br>04. Straight, No Chaser</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Miles Davis (trumpet)<br>John Coltrane, Hank Mobley (tenor sax)<br>Cannonball Adderley (alto sax)<br>Bill Evans, Red Garland, Wynton Kelly (piano)<br>Paul Chambers (bass)<br>Philly Joe Jones, Jimmy Cobb (drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Columbia, 2000</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/13546073484ebfaa36ea3ba">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-6257846573591166717?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com8tag:blogger.com,1999:blog-7249285868009844760.post-31055465249096689632011-11-14T03:00:00.000-08:002011-11-14T03:00:09.180-08:00Amos Milburn - Chicken Shack Boogie<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-n6Ogc4HPN2M/Tr95_H2L8xI/AAAAAAAAFA0/eyJzqiQKrdg/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-0tNOHq80Rh8/Tr96AIYG-LI/AAAAAAAAFA8/OU8nm8xHeek/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Who can forget that colourful opening verse of Amos Milburn's most famous song, a true Rhythm & Blues classic if ever there was one. And it doesn't matter whether you choose the bluesy 1947 Los Angeles original or the socking 1956 New Orleans remake (both included here). Chicken Shack Boogie established Amos Milburn as a top Rhythm & Blues artist in the late forties and earlier fifties, and for a while he was rubbing shoulders with major stars like Roy Brown, Wynonie Harris, Louis Jordan, Roy Milton and Joe turner. Rightly known for his high-energy piano-led blues rockers, he picked up his style from a rich variety of sources; the boogie-woogie piano of Albert Ammons and Pete Johnson, the blasting big bands of Lionel Hampton and Buddy Johnson, and as a contrast, the silky smooth after-hours cocktail blues of Charles Brown, Nat King Cole and Ivory Joe Hunter. The result, though was pure Amos Wilburn.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Rhythm & Blues, Piano Blues, West Coast Blues, Jump Blues, Regional Blues<br>Time - 37:04<br>Format - mp3@320 Kbps<br>Size - 86 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. My Baby's Boogying<br>02. Amos Boogie<br>03. Bye Bye Boogie<br>04. It Took A Long Long Time<br>05. Chicken Shack Boogie<br>06. Pot Luck Boogie<br>07. Jitterbug Fashion Parade<br>08. Roomin' House Boogie<br>09. Johnson Rag<br>10. Boogie Woogie<br>11. Sax Shack Boogie<br>12. Roll Mr Jelly<br>13. Grey Hound<br>14. House Party</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Amos Milburn (piano, vocals)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Aladdin, 1948</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/8081330144ebf7937c0511">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-3105546524909668963?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com1tag:blogger.com,1999:blog-7249285868009844760.post-78517784355805444802011-11-13T03:00:00.000-08:002011-11-13T03:00:09.449-08:00Alice Coltrane - Ptah the El Daoud<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-xVuWjYwdJTs/TrlrqkEhI7I/AAAAAAAAFAk/X2kyCSWAVQk/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-VqWiXR1YnTI/TrlrrDULCzI/AAAAAAAAFAo/gDLs5zT98II/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Sometimes written off as an also-ran to her more famous husband, Alice Coltrane's work of the late '60s and early '70s shows that she was a strong composer and performer in her own right, with a unique ability to impregnate her music with spirituality and gentleness without losing its edges or depth. Ptah the El Daoud is a truly great album, and listeners who surrender themselves to it emerge on the other side of its 46 minutes transformed. From the purifying catharsis of the first moments of the title track to the last moments of "Mantra," with its disjointed piano dance and passionate ribbons of tenor cast out into the universe, the album resonates with beauty, clarity, and emotion. Coltrane's piano solo on "Turiya and Ramakrishna" is a lush, melancholy, soothing blues, punctuated only by hushed bells and the sandy whisper of Ben Riley's drums and later exchanged for an equally emotive solo by bassist Ron Carter. "Blue Nile" is a case where the whole is greater than the sum of its parts; Coltrane's sweeping flourishes on the harp nestle in perfectly with flute solos by Pharoah Sanders and Joe Henderson to produce a warm cocoon of sound that is colored by evocations of water, greenness, and birds. Perhaps as strong as the writing here, though, are the performances that Coltrane coaxes from her sidemen, especially the horn players. Joe Henderson, who can always be counted on for technical excellence, gives a performance that is simply on a whole other level from much of his other work -- freer, more open, and more fluid here than nearly anywhere else. Pharoah Sanders, who at times with John Coltrane seemed like a magnetic force of entropy, pulling him toward increasing levels of chaos, shows all of the innovation and spiritual energy here that he is known for, with none of the screeching. Overlooked and buried for years in obscurity, this album deserves to be embraced for the gem it is.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Modal Music, Piano Jazz<br>Time - 46:03<br>Format - mp3@192 Kbps<br>Size - 63 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Ptah, The El Daoud<br>02. Turiya and Ramakrishna<br>03. Blue Nile<br>04. Mantra</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Alice Coltrane (harp, piano)<br>Pharoah Sanders (bells, flute, percussion, tenor sax)<br>Joe Henderson (flute, tenor sax)<br>Ron Carter (bass)<br>Ben Riley (drums)<br>Chuck Stewart (bells)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Impulse, 1970</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/667961114eb96b38136a0">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7851778435580544480?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-76382652724301626142011-11-12T03:00:00.000-08:002011-11-12T03:00:10.142-08:00Creedence Clearwater Revival - Cosmo's Factory<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-q1uytvapXGY/TrlqPNVYwWI/AAAAAAAAFAU/YCJU1EpHzxA/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="Layout 1" border="0" alt="Layout 1" align="right" src="http://lh5.ggpht.com/-kk0JlBT95jQ/TrlqPgJd1KI/AAAAAAAAFAc/9N-IUc6y7CE/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Throughout 1969 and into 1970, CCR toured incessantly and recorded nearly as much. Appropriately, Cosmo's Factory's first single was the working band's anthem "Travelin' Band," a funny, piledriving rocker with a blaring horn section -- the first indication their sonic palette was broadening. Two more singles appeared prior to the album's release, backed by John Fogerty originals that rivaled the A-side or paled just slightly. When it came time to assemble a full album, Fogerty had only one original left, the claustrophobic, paranoid rocker "Ramble Tamble." Unlike some extended instrumentals, this was dramatic and had a direction -- a distinction made clear by the meandering jam that brings CCR's version of "I Heard It Through the Grapevine" to 11 minutes. Even if it wanders, their take on the Marvin Gaye classic isn't unpleasant, and their faithful, exuberant takes on the Sun classics "Ooby Dooby" and "My Baby Left Me" are joyous tributes. Still, the heart of the album lays in those six fantastic songs released on singles. "Up Around the Bend" is a searing rocker, one of their best, balanced by the menacing murkiness of "Run Through the Jungle." "Who'll Stop the Rain"'s poignant melody and melancholy undertow has a counterpart in Fogerty's dope song, "Lookin' out My Back Door," a charming, bright shuffle, filled with dancing animals and domestic bliss - he had never been as sweet and silly as he is here. On "Long as I Can See the Light," the record's final song, he again finds solace in home, anchored by a soulful, laid-back groove. It hits a comforting, elegiac note, the perfect way to draw Cosmo's Factory -- an album made during stress and chaos, filled with raging rockers, covers, and intense jams -- to a close.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Rock<br>Styles - Rock & Roll, Contemporary Rock, Country Rock<br>Time - 42:28<br>Format - mp3@320 Kbps<br>Size - 97 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Ramble Tamble<br>02. Before You Accuse Me<br>03. Travelin' Band<br>04. Ooby Dooby<br>05. Lookin' out My Back Door<br>06. Run Through the Jungle<br>07. Up Around the Bend<br>08. My Baby Left Me<br>09. Who'll Stop the Rain<br>10. I Heard It Through the Grapevine<br>11. Long as I Can See the Light</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>John Fogerty (guitar, vocals)<br>Tom Fogerty (rhythm guitar, vocals)<br>Doug Clifford, Stu Cook (bass, drums)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Fantasy, 1970</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/13252959674eb969ac5c388">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7638265272430162614?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-78262443569263464292011-11-11T03:00:00.000-08:002011-11-11T03:00:06.143-08:00Keith Jarrett - Invocations / The Moth and the Flame<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/-Y5cSvbWDmgs/Trlot2M2XLI/AAAAAAAAFAE/c1lT8w_dhUI/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-5aqfyN1rBrI/TrlouSDKPhI/AAAAAAAAFAM/bRxmRuqcWHo/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>If this schizophrenic double-CD set didn't throw Keith Jarrett's most devoted fans for a loop, nothing ever will. Here we have two radically disparate works involving different timbres, attacks and mindsets, both within themselves and with each other. On "Invocations," a seven-movement suite, Jarrett returns to the massive pipe organ in Ottobeuren, Germany for a series of sometimes wildly contrasting episodes, ranging from peaceful contemplation to a fourth movement (subtitled "Shock, Scatter") that borders on the comical (people tend to forget that for all of his pretensions, Jarrett does have a sense of humor). Entranced by the abbey's long, long decay time, he brackets the organ movements with some solo meditations on the soprano sax which, pardon the witticism, echo those of Paul Horn. "The Moth and the Flame" finds Jarrett back in a studio with a grand piano, improvising musical still-lifes, rambling aimlessly, or doing his rollicking E-flat ostinato thing familiar from the solo concerts. About all that these two pieces share, with the exception of the E-flat movement from "Moth," is an aversion to a jazz pulse, so although there are plenty of rewarding passages here, casual Jarrett browsers are hereby warned.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Post Bop, Piano Jazz<br>Time - 82:20<br>Format - mp3@320 Kbps<br>Size - 188 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc I<br>01. First (Solo Voice)<br>02. Second (Mirages, Realities)<br>03. Third (Power, Resolve)<br>04. Fourth (Shock, Scatter)<br>05. Fifth (Recognition)<br>06. Sixth (Celebration)<br>07. Seventh (Solo Voice)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Disc II<br>01. Part I<br>02. Part II<br>03. Part III<br>04. Part IV<br>05. Part V</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Keith Jarrett (piano, pipe organ, soprano sax)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>ECM, 1981</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/18048938274eb965c30c8e0">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-7826244356926346429?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-415846142847346912011-11-10T03:00:00.000-08:002011-11-10T03:00:02.696-08:00John Mayall - Padlock on the Blues<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh4.ggpht.com/-xBTdRajWlNs/TrlkbVI5BZI/AAAAAAAAE_0/0WhmJjcyRSY/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh3.ggpht.com/-cJkU9NrHMmo/Trlkb21qFlI/AAAAAAAAE_8/W551z8NH5Iw/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>John Mayall's career may be distinguished but it's also been checkered, as he's swung from a celebrated talent scout to a journeyman bandleader. At times, he's in fashion, at others he's not. The late '90s was one of the times when he wasn't in fashion. Because of this, he was one of the first artists who Cleopatra signed when they began to move into high-profile new releases. Padlock on Blues, his first effort for the label and his first album in four years, finds Mayall pulling out all the stops, contributing 11 new tunes and lining up an impressive array of guest stars, including John Lee Hooker, Coco Montoya, and Ernie Watts. All the extra effort has resulted in a solid record -- but one that's not all that notably different from his Silvertone releases of the early '90s. The main difference is that the production isn't as impeccably clean as it was on the Silvertone albums. That doesn't mean it's grittier since, after all, he's still attempting the same sort of modern electric blues. Still, his performances have enough weight to be enjoyable, even if the songwriting is a little spotty. And, in that sense, it isn't all that different from any latter-day Mayall record -- it's the kind of album that will generally please the faithful, no matter what the faults are. However, it may also frustrate them, since it is no better nor no worse -- simply no different -- than any record he's released since the beginning of the '80s.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Blues Rock, British Blues, Harmonica Blues, Blues Revival, Regional Blues<br>Time - 59:58<br>Format - mp3@192 Kbps<br>Size - 82 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Don't Turn Your Back<br>02. Padlock On The Blues<br>03. A Hard Road<br>04. Somebody's Watching<br>05. Always A Brand New Road<br>06. My Country Girl<br>07. The Strip<br>08. I've Got To Talk To You<br>09. Dancing Shoes<br>10. Bad Dream Catcher<br>11. When The Blues Are Bad<br>12. Ain't No Surrender<br>13. White Line Fever</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>John Mayall (guitar, harmonica, piano, electric piano, vocals)<br>Darrell Leonard (trumpet)<br>John Paulus (bass)<br>Joe Sublett (saxophone)<br>Buddy Whittington (guitar)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Cleopatra, 1999</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/2210989774eb963f11363b">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-41584614284734691?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-45410009156375028492011-11-09T03:00:00.000-08:002011-11-09T03:00:09.092-08:00Bert Jansch<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh5.ggpht.com/-stUyEcK4KMY/TrliQKDXQBI/AAAAAAAAE_k/ik1Qr5wU5b4/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-JAwFYq4RVFI/TrliQ7B3kKI/AAAAAAAAE_o/d_b7zC7aaF8/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Recorded with a portable tape player on a borrowed guitar in the kitchen of his London flat, the impact of Bert Jansch's debut has been somewhat blunted by time, but it was a vastly influential work. His masterful acoustic picking, which blended elements of traditional British folk, blues, and jazz, inspired not just other folk players, but rockers who frequently used acoustic guitars. Specifically, Jimmy Page and Neil Young have gone on record as noting their heavy debts to Jansch's early material. He was also a talented songwriter, and all but one of the 15 tracks on his debut was an original composition (the set closes with his version of the instrumental "Angi," originally performed by fellow British folk guitarist Davy Graham, and popularized by Paul Simon). The artist sounds quite close to early Donovan with his Scottish inflections, though he is darker and less pop-oriented; indeed, Donovan recorded a couple of early Jansch tunes, and wrote a couple of songs directly inspired by the artist ("Bert's Blues" and "House of Jansch"). Jansch reflects a rambling, beatnik sort of lifestyle with his compositions on this album, which includes one of his most famous tunes, the somber "Needle of Death" (about the heroin-induced death of one of his friends).</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Folk<br>Styles - British Folk, Folk Rock, Psychedelic, Traditional Folk<br>Time - 39:25<br>Format - mp3@192 Kbps<br>Size - 54 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Strolling Down The Highway<br>02. Smokey River<br>03. Oh How Your Love Is Strong<br>04. I Have No Time<br>05. Finches<br>06. Veronica<br>07. Needle Of Death<br>08. Do You Hear Me Now<br>09. Rambling's Gonna Be The Death Of Me<br>10. Alice's Wonderland<br>11. Running from Home<br>12. Courting Blues<br>13. Casbah<br>14. Dreams Of Love<br>15. Angie</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Bert Jansch (guitar, piano, vocals)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Castle Music, 1965</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/9136400144eb961b01961a">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-4541000915637502849?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-11857749593327434902011-11-08T03:00:00.000-08:002011-11-08T08:51:07.028-08:00John Lewis Presents Jazz Abstractions<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh3.ggpht.com/--sKBKzhNNes/Trld9bRkE9I/AAAAAAAAE_U/k7bD3lP9w_c/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh5.ggpht.com/-JHytV4st74w/Trld9wXYj-I/AAAAAAAAE_Y/gKXwMB_OY3M/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>Although John Lewis is listed as the leader (this album's alternate title is "John Lewis Presents Contemporary Music"), the pianist does not actually appear on this record and only contributed one piece ("Django"). On what is very much a Gunther Schuller project, Schuller composed "Abstraction" and was responsible for the adventurous three-part "Variants on a Theme of John Lewis (Django)" and the four-part "Variants on a Theme of Thelonious Monk (Criss-Cross)"; Jim Hall contributed "Piece for Guitar & Strings." One of the most successful third stream efforts, this LP combines avant-garde jazz with aspects of classical music. Among the more notable stars, altoist Ornette Coleman is on "Abstraction" and "Criss Cross" (both of which have been reissued in his Rhino CD box) and multi-instrumentalist Eric Dolphy is on both of the "Variants." Other musicians in the eclectic cast include guitarist Hall, bassist Scott LaFaro, pianist Bill Evans, and several classical string players. This is very interesting music.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Jazz<br>Styles - Third Stream<br>Time - 36:09<br>Format - mp3@192 Kbps<br>Size - 49 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Abstraction<br>02. Piece for Guitar and Strings<br>03. Variant on a Theme of John Lewis I<br>04. Variant on a Theme of John Lewis II<br>05. Variant on a Theme of John Lewis III<br>06. Variant on a Theme of Thelonious Monk I<br>07. Variant on a Theme of Thelonious Monk II<br>08. Variant on a Theme of Thelonious Monk III<br>09. Variant on a Theme of Thelonious Monk IV</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>John Lewis (piano)<br>Ornette Coleman (alto sax)<br>Eric Dolphy (clarinet, flute, alto sax)<br>Gunther Schuller (french horn)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Atlantic, 1961</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/16812471674eb95d6152f5f">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-1185774959332743490?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com2tag:blogger.com,1999:blog-7249285868009844760.post-88600874585611064752011-11-07T03:00:00.000-08:002011-11-08T08:41:13.376-08:00Live Johnny Winter And<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-f--H1H3gF7w/TrlbpBUoNqI/AAAAAAAAE_E/0tkq9Ky8TmU/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top: 0px; border-right: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh6.ggpht.com/-HuHB53sqYkw/TrlbphhKCXI/AAAAAAAAE_M/c6Iku7lrEeY/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>In its time, this was an enormously popular live album, especially among high-school kids just starting to discover blues-rock in the early '70s. Derived from live performances at the Fillmore East and at Pirate's World in Dania, FL, it is probably, in fairness, the best representation of Johnny Winter's sound from his prime years that one is likely to find -- the pity is that it's only about 40 minutes long, and is weighted very heavily toward Winter's covers of well-known rock & roll numbers. Considering that it was recorded along a tour promoting the Johnny Winter And album, one would expect that the band would have done a considerable number of tracks from that record, none of which are represented here. The highlights are of considerable value, however, including a searing rendition of the Stones' "Jumpin' Jack Flash" sandwiched between some much older repertory ("Great Balls of Fire," "Long Tall Sally," "Johnny B. Goode," etc.). Except for the opener, "Good Morning Little School Girl," on which Winter and the band try to show how many notes they can hit as quickly as they can, the players generally try for something a little more subtle and interesting, and one wishes that more of what they did had used the slow blues groove they settle into on "It's My Own Fault." Their version of "Great Balls of Fire" has some of that, mostly by default (no one did the song faster than Jerry Lee Lewis anyway), and also enough energy so one doesn't even "miss" the piano one usually expects somewhere in the song; "Long Tall Sally," by contrast, kicks in on overdrive and takes off from there. But for all of the musical virtues (and obvious joy) that Winter and company bring to those standards, the most interesting cuts here are "It's My Own Fault" and Winter's own "Mean Town Blues," and one wishes that there were more such tracks here. In that regard, it might be worthwhile for someone at Sony/Legacy to do a serious vault search and see if there are surviving tapes of any other numbers recorded from the two shows that were recorded for this album.</font></em></p><a name='more'></a> <p align="justify"><em><font size="2" face="Trebuchet MS">Genre - Blues<br>Styles - Blues Rock, Texas Blues, Slide Guitar Blues, Hard Rock, Arena Rock, Boogie Rock<br>Time - 40:12<br>Format - mp3@192 Kbps<br>Size - 55 mb</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Tracks<br>01. Good Morning Little School Girl<br>02. It's My Own Fault<br>03. Jumpin' Jack Flash<br>04. Rock & Roll Medley<br>05. Mean Town Blues<br>06. Johnny B. Goode</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Credits<br>Johnny Winter (guitar, harmonica, vocals)<br>Rick Derringer (guitar, vocals)<br>Randy Jo Hobbs (bass, vocals)<br>Bobby Caldwell (drums, percussion)</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS">Label<br>Columbia, 1971</font></em></p> <p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://linksave.in/7624086774eb95abf655fd">links</a></font></em></p> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/7249285868009844760-8860087458561106475?l=music-on-the-rocks.blogspot.com' alt='' /></div>gormenghastnoreply@blogger.com0tag:blogger.com,1999:blog-7249285868009844760.post-67069019061555855902011-11-06T03:00:00.000-08:002011-11-07T10:22:24.468-08:00Paul Motian - I Have The Room Above Her<p align="justify"><em><font size="2" face="Trebuchet MS"><a href="http://lh6.ggpht.com/-DySsC11uJpY/Trgh20E69zI/AAAAAAAAE-0/pj85mw5ku6k/s1600-h/cover%25255B4%25255D.jpg"><img style="background-image: none; border-right-width: 0px; margin: 0px 0px 0px 10px; padding-left: 0px; padding-right: 0px; display: inline; float: right; border-top-width: 0px; border-bottom-width: 0px; border-left-width: 0px; padding-top: 0px" title="cover" border="0" alt="cover" align="right" src="http://lh4.ggpht.com/-0d2Di3H5Ahk/Trgh3jnhrLI/AAAAAAAAE-8/vs6E0FDbq50/cover_thumb%25255B2%25255D.jpg?imgmax=800" width="180" height="180"></a>The sum total of the nuanced, elliptical lyricism at the heart of Paul Motian's compositional method can be heard in the opening seconds of "Osmosis Part III," the first track from I Have the Room Above Her. Record