None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Miles Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Miles, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes.
Miles Davis' concert of February 12, 1964, was originally divided into two LPs, with all of the ballads put on My Funny Valentine. These five lengthy tracks (which include "All of You," "Stella by Starlight," "All Blues," "I Thought About You," and the title cut) put the emphasis on the lyricism of Davis, along with some strong statements from tenor saxophonist George Coleman and freer moments from the young rhythm section of pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams.
Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of "So What." From that moment on, the record never really changes pace – each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz – tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance.
With the arrival of Delta Lady: The Rita Coolidge Anthology, one can only remark: what took so long? No other singer – not Maria Muldaur, Bette Midler, Bonnie Bramlett, Carly Simon, or Linda Ronstadt – more perfectly embodied the wide range of changes that popular music underwent from the late '60s through the mid-'80s, and continues to seek new means of expression today. This two-disc anthology on Hip-O offers the first complete portrait of this complex and multivalent talent on CD (though a box set would have been nice). Rita Coolidge scored her first chart hit with friend Donna Weiss' "Turn Around and Love You" in 1969. That song earned her a studio spot where she fell in with Delaney & Bonnie, Leon Russell, and a huge cast of musicians. Being a background vocalist on Delaney & Bonnie's classic Accept No Substitute earned her a place on Russell and Joe Cocker's Mad Dogs & Englishmen revue and the rest is history, including a handful of chart hits and guest appearances that stagger the mind.
With the release of the spectral title tune, and the efforts of the Columbia marketing and publicity departments behind him, a thirty-year old Miles Davis entered into a period of extraordinary artistic maturity and growth. And Miles instinctively knew how to cultivate his star quality. Looming behind those shades, was the diffident, sensitive anti-hero–proud and defiant–who only spoke to his audience through his horn, and turned his back on them when the other soloists were blowing. The combination of attitude and intellect was irresistible. Beginning with ROUND ABOUT MIDNIGHT and proceeding through a remarkable succession of famous recordings over the next 30 years, Miles Davis became one of the greatest soloists, arrangers and talent scouts in the history of American music. People who didn't own a single jazz record came to know his name–Miles was a jazz icon.
Career retrospective from Pub Rock’s angriest man Graham Parker, spread over 6 CDs with a DVD featuring a live set at the Brook Southampton from last year’s final tour with the Rumour…LTW’s Ian Canty looks at 40 years of Camberley’s very own Punk Soul brother….. It wasn’t very promising on the face of it. A resentful 25 year old garage pump attendant with a run through the 60s from Mod to Hippy behind him and a headful of dreams about Van Morrison and Dr Feelgood, matched up with what might have been the cream of the Pub Rock scene. But this was after all of their respective bands had singularly failed to make an impact, so together, in 1976, they stood at the doors of the Last Chance saloon. What wasn’t expected was that with their musical power allied to the petrol pump punk’s lyrical smarts and alarming stage presence, they would blow the doors off the hinges. Ladies and gentleman, I give you Graham Parker and the Rumour.
Chandos Records is delighted to present this new recording of Elgar’s choral masterpiece The Dream of Gerontius and the enduringly popular song cycle Sea Pictures. The BBC Symphony Orchestra and Chorus are conducted by Sir Andrew Davis, a peerless Elgarian who this year was awarded the prestigious Elgar Society Medal in recognition of his outstanding contribution to the composer’s music. In Gerontius the soloists are Stuart Skelton, David Soar and Sarah Connolly, who also sings in Sea Pictures. This recording was made in the days leading up to their triumphant live performance of Gerontius in April of this year in which Skelton was praised as ‘the ideal tenor for the role of Gerontius’, Soar described as ‘an implacable, dark sounding Priest’ and Connolly, ‘a consummately polished Angel’ (The Guardian).
Eric Serra has done what very few composers can do nowadys. He has come up with a score that is inherantly beautiful. The thick melodys and sweeping instramentals bring the film to life. When you listen to the soundtrack and close your eyes, whether you have seen the film or not, you can't help but be whisked away to a huge, blue world. Its a strange sensation to be sure, but the effect is mesmerising. One of the real, greatest soundtracks ever.
The most engaging experience in teaching exams to teens. Experience - Engage - Excel! Gold Experience is a fast-paced course that engages and motivates teenagers with its wide variety of interesting age-appropriate topics from contemporary contexts such as the Internet, social media, television, magazines as well as content-rich CLIL topics from which your students will learn about the world. Gold Experience is a perfect preparation course for revised 2015 Cambridge for Schools exams.
Features the high-fidelity SHM-CD format (compatible with standard CD player). Cover artwork faithfully replicates original one. Comes with lyrics and a description. Camel was still finding its signature sound on its eponymous debut album. At this point, Peter Bardens and his grand, sweeping organ dominate the group's sound and Andrew Latimer sounds tentative on occasion.