Recorded live at the MUSA in Göttingen/Germany, 20th October 2005
Recorded in August 1999, this live performance by Bernard Allison perfectly illustrates why he has quickly established himself as one of the most important blues artists of the 21st century. The son of legendary bluesman Luther Allison, Bernard commands his guitar to create a new style of blues that combines tradition with contemporary sounds such as funk, rock, and R&B.
Oft-recorded Bernard Herrmann masterpiece finally gets complete release in dynamic stereo from new masters! Previous release on Rhino label was spectacular album, albeit several major set pieces (including main title & climactic Mount Rushmore sequence) were transferred from damaged elements, all that was then available. Thanks to Warner Bros., new stereo mixes have been made available for first time ever, revealing spectacular sonics (for 1959) and illuminating new details of magnificent score never before captured. While score has also been digitally re-recorded twice under different conductors, neither version can match crisp, exciting performance of MGM Studio musicians under baton of Herrmann himself. Hear harp arpeggios, castenets, wood blocks, snare drums like never before. Get entire climax with punch of bass trombone, thrilling trumpets amidst swirling variety of tempos that keep tension, excitement of Hitchcock's incredible action set-piece moving at fierce pace.
Though Bomb the Bass' third album, Clear, was originally a scattershot, kinetic dance record, Tim Simenon restructured the record for its American release. The American version of Clear demonstrates a distinct trip-hop, techno, jazz, and dub influence, as well as the literary lyical pretentions that were present on the original English release. Simenon created a subdued, multi-layered album, where instruments float in and out of the mix over a deep, laidback groove. All of the rappers on the record are guest stars, including Sinead O'Connor and Justin Warfield. Although their contributions are impressive, the true star of the album is Simenon, who has made an album that proves he isn't stuck in the late-'80s house/techno rut and can compete with '90s artists like Tricky and Portishead. Still, the album highlight comes with a La Funk Mob reworking
Guitarist Will Bernard continues to crank out the knotty and cerebral funk jams on 2007's Party Hats. Falling somewhere between the low-key '60s soul trio vibe of Medeski, Martin & Wood and the uptempo, fiery swagger of Maceo Parker, Party Hats is a soulful, good-time album that should please fans of both blues-oriented funk and post-bop improvisation. Joining Bernard here is a stellar backing ensemble of longtime cohorts, including tenor saxophonist Peter Apfelbaum, Hammond organist Wil Blades, drummers Jan Jackson and Paul Spina, and others.
One of the most wonderful 70s albums from Bobby Hutcherson – and one of the most deeply spiritual, too! As with others in Blue Note's Montreux series, the tracks are long and very open – with a different flavor than the artists' studio work. Hutcherson works with a hip small group that includes excellent trumpet from Woody Shaw, piano from Hotep Cecil Bernard, bass from Ray Drummond, and drums from Larry Hancock – all snaking out beautifully on these long, spiritual tunes – very much shaped by Woody's presence.
Haitink's integral set of Beethoven Symphonies with the London Symphony has none of the stodginess that sometimes afflicted his earlier recordings with the Concertgebouw. His restudy of the works, and the presence of concert audiences translate into faster tempos, sharper accents, wider dynamic range and an overall sense of energy that imbue these nine masterpieces.