Some of Gary Peacock’s finest music has been made in piano trios. Early in his musical life, Peacock established a fresh role for the bass as an independent melodic voice, a concept carried forward in the history-making groups he’s played with – from Paul Bley’s Bill Evans’s trios to Keith Jarrett’s. As a bandleader he has also been influential: Tangents is the second release from the great bassist’s trio with Marc Copland and Joey Baron and draws on years of shared playing in diverse contexts.
This special collector's edition contains 29 remastered recordings by Clarence “Gatemouth” Brown, consisting of a selection of the magnicent early sides released between 1947 and 1960 on the Peacock and Aladdin record labels. Several of his most famous songs and enduring singles are featured on this quintessential CD, including “Dirty Work at the Crossroads,” “Midnight Hour,” “Just Before Dawn,” and “Okie Dokie Stomp,” among others. It is truly an indispensable set for any blues and R&B devotee.
The original soundtrack to Steven Soderbergh's striking drug war drama Traffic features Cliff Martinez's sparse, evocative score, classical pieces, and electronica, resulting in a collection of music that's nearly as complex and diverse as the film it accompanies. Martinez, who has scored virtually all of Soderbergh's films (except Erin Brockovich), proves once again why they work together so often: the score's atmospheric drones and understated rhythms build a restrained, implosive tension far better than blaring orchestral pieces. Like the film itself, Martinez' pieces aren't obvious. They don't tell the listener what to feel; they just set the scene and let the audience fill in the blanks. And though big beat songs like Fatboy Slim's "Give the Po' Man a Break" and Kruder & Dorfmeister's remix of Rockers Hi-Fi's "Going Under" could be too much of a contrast with Martinez' airy compositions, the album is deftly sequenced, allowing for the highs and lows of the score and songs like Morcheeba's "On the Road Again," Wilhelm Kempff's "Piano Sonata No. 1 in F minor," and Brian Eno's "An Ending (Ascent)." Though it sounds even better in conjunction with the film, Traffic is still one of 2000's best soundtracks.
Steve Roach’s unique soundquests continue to take him and his listeners on powerful journeys to worlds at once alien and familiar. On The Desert Inbetween, Roach teams up with fellow synthesist/percussionist/didgeridoo player Brian Parnham to explore a hybrid electronic acoustic soundworld sure to please listeners of Suspended Memories and Origins-era tribalism as well as The Serpent’s Lair-styled electronics. The blending of highly-altered organic sounds and instruments (voices, bells, didgeridoo & percussion, Waterphone), electric guitar and a vast array of analog and digital instruments connects deep into the primal mind…
Dead Oceans is happy to welcome the pianist Tom Rogerson to the roster. His elegant and evocative debut, Finding Shore, a 13-track collaboration that began after Rogerson met Brian Eno outside the toilets after a gig, arrives December 8th.