For the second ECM album by Aaron Parks – following the solo release Aborescence, which JazzTimes praised as “expansive, impressionistic… like a vision quest” – the prize-winning pianist has convened a trio featuring bassist Ben Street and drummer Billy Hart. The rhythm pair, which also teams in Hart’s hit quartet for ECM, blends fluidity and strength – what Parks calls “an oceanic” quality, producing waves of energy for the pianist to alternately ride and dive into. Find the Way has the aura of a piano-trio recording in the classic mold, from melody-rich opener “Adrift” to the closing title track, a cover of a romantic tune Parks grew to love on an LP by Rosemary Clooney and Nelson Riddle. Parks also drew inspiration for this album from the likes of Alice Coltrane and Shirley Horn (for whom Hart played); space and subtlety are a priority.
That's the Way I Like It: The Best of Dead or Alive collects 18 tracks from the androgynous British dance-pop outfit responsible for one of the '80’s most enduring club hits, “You Spin Me Round (Like A Record)”. Other highlights include a cover of KC & the Sunshine Band's disco classic "That's the Way (I Like It)," “Lover Come Back to Me," "In Too Deep," "My Heart Goes Bang,” and 1986's "Brand New Lover,” as well as the four extended/alternate mixes that populate the collections’ second half. Remastered from the original studio tapes, the anthology may not be exhaustive, but it’s solid enough for casual fans, and engaging enough to recommend to listeners with the false notion that Dead or Alive was a mere one-hit wonder.
This 2 CD Legacy Edition of features an expanded version of the original RCA album. Added is four single sides from the period and a selection of "fly-on-the-wall" outtakes from the sessions that produced the majority of tracks for the LP. Disc 2 features a previously unreleased concert from ' 1970 recorded on August 12. The 24-page booklet features an insightful essay, photos and memorabilia. This new 2-CD Legacy Edition of the album that accompanied the film directed by celebrates this memorable era in the career of with an expanded version of the original Gold-certified RCA release.
From the opening four notes of Michael Henderson's hypnotically minimal bass that open the unedited master of "On the Corner," answered a few seconds later by the swirl of color, texture, and above all rhythm, it becomes a immediately apparent that Miles Davis had left the jazz world he helped to invent – forever. The 19-minute-and-25-second track has never been issued in full until now. It is one of the 31 tracks in The Complete On the Corner Sessions, a six-disc box recorded between 1972 and 1975 that centers on the albums On the Corner, Get Up with It, and the hodgepodge leftovers collection Big Fun. It is also the final of eight boxes in the series of Columbia's studio sessions with Davis from the 1950s through 1975, when he retired from music before his return in the 1980s. Previously issued have been Davis' historic sessions with John Coltrane in the first quintet, the Gil Evans collaborations, the Seven Steps to Heaven recordings, the complete second quintet recordings, and the complete In a Silent Way, Bitches Brew, and Jack Johnson sessions. There have been a number of live sets as well; the most closely related one to this is the live Cellar Door Sessions 1970, issued in 2005.