Monte Montgomery tears it up on the fretboard and the mic, and he's brought a strong rhythm section just for reinforcement. His guitar playing describes a true wealth of sounds–just picture a slap-bass player on an acoustic steel string with a penchant for Stevie Ray Vaughn, and you'll be in the ballpark. At the same time, his blazing fingerstyle, precise, percussive accompaniment, and exceedingly creative use of harmonics are only part of his truly unique guitar style. And Montgomery's outstanding technique does not prevent him from delivering a clear, melodic solo that dances through the changes.The folk-tinged songwriting is well developed, and this man's got stuff to say about life and love. In fact, Montgomery is an impressive, versatile vocalist in his own right……
With the exception of the late Amos Milburn, all of the artists presented here have proved to be survivors. None of them is young any more and each has suffered years if not decades of neglect and hardship. But on the brighter side, Charles Brown and Floyd Dixon are now receiving the sort of recognition and honours that equal and perhaps in some ways surpass the fame they enjoyed in their heyday. As for H-Bomb Ferguson, bis own resurgence has ensured that his wigs are made from the best materials.
Ah, Beale Street. lf you‘re into the blues, there are locations that conjure with the imagination. In Chicago, it‘s Maxwell Street, in Detroit, Hastings Street, in Los Angeles, Central Avenue. But for longevity and romance, incident and especially music, most bluesfans would set their feet on Beale Street‘s weaving sidewalk in any decade between the 20s and the 50s. Not that many white people did until the latter decade, for the area was as lawless as it was libidinous. Authorities left Beale Streeters to their own devices, sending in the wagons after dawn to clear away the bodies accrued from another night‘s misadventures…..
British electronic/new age musician David Wright was born in 1953. He has released numerous records both solo and with the groups Callisto and Code Indigo that display a wide range of influences - he spent his formative years in the Far East. Working primarily in the electronic realm - he founded his own label, AD Music, in 1989 - Wright peppers his impressionistic compositions with rock, jazz, classical, and worldbeat flavors, resulting in an instrumental smorgasbord of diverse moods and colors that has been favorably compared to Kitaro, Mike Oldfield, and Vangelis.
Here it is: eight CDs worth of John Coltrane's classic quartet, comprised of bassist Jimmy Garrison, pianist McCoy Tyner, and drummer Elvin Jones, recorded between December of 1961 and September of 1965 when the artist followed his restless vision and expanded the band before assembling an entirely new one before his death. What transpired over the course of the eight albums and supplementary material used elsewhere is nothing short of a complete transfiguration of one band into another one, from a band that followed the leader into places unknown to one that inspired him and pushed him further. All of this transpired in the span of only three years.
When one thinks of altoist/flutist Bud Shank's recordings of the 1950s, it is normally of his work with Stan Kenton's orchestra or collaborations with Laurindo Almeida or Bob Cooper. However, Shank led a superior quartet from 1956-1958 that also included pianist Claude Williamson, bassist Don Prell, and either Chuck Flores or Jimmy Pratt on drums. This typically magnificent five-CD limited-edition box set from Mosaic has the quartet's four albums (including a set that was recorded in Johannesburg, South Africa), a selection by Shank with a sextet that includes vibraphonist Larry Bunker, and three slightly later sets.